ORDEii  Ob'  EXEiiCISES 


ELOCUTION 


filVKN    AT    'l"HK 


COOK  COUNTY  NORMAL  SCHOOL 


cs^^ 


FEANK  STUAET  PARKEE, 

Late  Instructou   tx  the    Boston    TTniveksity  School  of  Oiiatory 
AND  Boston  Scnoof,  op  Ohatory. 


laE-VISEia     EIDXTI02>T. 


CHICAGO. 

1887. 


COPYRIGHT 

By  FRANK  STUART  PARKER. 

1887. 


UONOHUB  <t  HENiniBEBRT,  Printers  and  BinderH,  ('hica(to. 


PZ2 


COISTTEI^TS. 


Bearing  and  Carriage  of  Body , 7 

Bearing  and  Carriage  of  Body  (exercises) 10 

Breathing  Exercises 16 

Breathing  Exercises  (description) 17 

Decomposing  Exercises ; . .  25 

Decomposing  Exercises  (description) 2G 

Production  of  Voice  82 

Quality  of  Voice 37 

Quality  of  Speech  (conventional  modifications) j}9 

Elements  of  Speech 41 

Articulation  Exercise  (freedom  of  movemenl) 42 

Articulation  Exercises  (description) 45 

xVrticulation  Exercises  (vowel  practice) ,  47 

Dr.  Guilmette's  Vowel  Chart 48 

Dr.  Guilmette's  Vowel  Chart  (use  of) 50 

Articulation  Exercises  (consonant  practice) 56 

Dr.  Guilmette's  Consonant  Chart 57 

Dr.  Guilmette's  Consonant  Chart  (use  of) 60 

Prof.  Bell's  Vowel  Table 66 

Prof.  Bell's  Vowel  Table  (analysis) 69 

Con-espondence  of  Numbers  used  to  Designate  Vowel  Sounds. .  82 

Use  of  Bell's  Vowel  Table  with  AVebster's  Dictionarj^ 85 

General  Vowel  Rules 90 

Organs  of  Articulation 105 

Formation  of  English  Consonants 106 

Pitch  of  Voice 129 

Exercises  upon  Pitch. 130 

Vocal  Exercises  upon  Fixed  Intonations  for  the  Front  Placing. .  138 

Vocal  Exercises  for  Front  Placing 139 

Vocal  Exercises  upon  Fixing  Intonations  for  the  Center  Placing.  141 

Vocal  Exercises  for  Center  Placing 142 


BEARING  AKD  CARRIAGE. 

/o8A3 

Every  exercise  given  a  child  sliould  he  for  a  definite 
purpose,  and  should  be  given  regularly.  Haphazard,  slov- 
enly work  in  this  direction  is  worse  than  no  work  at  all. 
Promptness,  interest  and  jn-ecision  must  characterize  tlie 
teacher's  work  if  she  would  produce  results  to  be  desired. 
In  this  work,  as  in  all  others  where  skill  is  to  be 
obtained,  the  better  the  model  the  more  satisfactory  the 
outgrowth. 

Precision  is  the  first  element  of  grace,  and,  in  im- 
proving the  bearing  of  the  body,  is  the  first  thing  to 
be  secured.  Symmetry  of  body  being  the  first  requisite, 
all  bad  habits,  such  as  the  carrying  of  one  shoulder  higher 
than  the  other,  head  leaning  to  one  side,  hips  uneven,  etc., 
are  to  be  corrected.  Let  this  be  done  by  showing  a  child 
definitely  what  is  required  of  him.  Vague  directions,  such 
as,  "Stand  np  straight,"  ''Hold  your  head  better,"  or 
"Do  stop  bending  over,"  are  worse  than  useless.  Bring 
the  correct  habit,  which  you  wish  to  substitute,  clearly  and 
with  regularity  ii\to  the  consciousness,  and  the  bad  habit 
will  gradually  disappear. 

Be  sure  that  the  cliildren  follow  your  directions  exactly. 
Bad  habits  are  as  easily  made  habitual  as  good,  and  three 
or  four  days'  careless  practice  will  form  habits  which  you 
will  be  three  or  four  weeks  breaking  up.  Work  slowly  and 
carefully,  getting  the  right  concept  into  the  child's  mind, 
and  much  time  and  trouble  will  be  saved. 

Dr.  Sargent,  of  Harvard,  suggests,  if  there  is  great 
weakness,  or  lack  of  proper  development  of  any  particular 

7 


8  OEDER   OF    EXERCISES. 

part  of  the  body,  the  sensible  idea  of  building  there. 
Guttmanu's  or  Dio  Lewis^  Manual  are  both  standard  books 
in  this  direction,  and  full  of  excellent  hints  upon  the  sub- 
ject of  physical  exercise. 

Great  care  will  be  necessary  with  children.  When  any 
set  of  muscles  is  fatigued,  stop,  or  bring  into  use  another  set, 
for  your  object  is  to  strengthen,  not  to  weaken,  and  weak- 
ness invariably  follows  over-exertion  and  straining.  Do  not 
expect  results  the  first  day  or  the  first  week.  It  is  normal 
to  grow  into  grace  in  a  physical,  as  Avell  as  in  a  moral  sense. 

Make  your  exercises  as  attractive  as  possible,  and  give 
them  in  a  prompt,  enthusiastic  way  as  if  you  liked  thenr 
yourself.  I  have  seen  a  class  perfectly  disgusted  with 
the  exercises  because  the  teacher  gave  them  in  such 
a  slovenly  way.  If  possible,  create  a  pride  in  a  proper 
carriage.  Children  will  very  soon  see  that  timidity,  fear, 
meanness,  ill  health,  desi)air,  and  cowardice  or  helplessness 
are  all  suggested  by  a  passive  chest,  and  Avill  work  with  a 
will  to  overcome  such  a  tendency.  Have  them  try  to 
walk  about  with  a  bag  of  sand  or  a  basket  upon  the  head,  see- 
ing who  can  balance  them  the  longest,  and  walk  the  fastest. 
Get  them  to  stand  against  the  Avail,  advance  a  few  steps, 
and  then  retreat,  still  retaining  their  upright  position. 
Encourage  out-of-door  plays  and  sports,  walking  and  run- 
ning. Make  it  the  fashion  to  be  well,  and  teach  your  chil- 
dren to  look  upon  ill  health  and  consequent  helplessness 
with  J3erfect  horror.  Avoid  the  moping  about  hot-air  regis- 
ters growing  girls  so  affect,  set  them  to  playing  with  bean 
bags,  or  anything  to  keep  them  actiA'e  and  out  of  corners. 

Take  every  opportunity  possible  of  changing  the  air  in 
the  school-room,  keeping  the  temperature  even  and  the  air 
pure,  and  be  sure  that  the  room  is  well  ventilated  before 
giving  physical  exercises.  Avoid  giving  these  exercises  im- 
mediately after  children  come  in  from  the   home  or  the 


BEARIXd    AND    CAHRIACiF. 


playgroimd;  or  Avitliin  ;iu  liour  of  any  meal.  Relieve  the 
ordinary  8chool-rooni  work  by  occasional  exercises,  varied  to 
prevent  monotony,  and  the  added  power  of  attention  which 
the  children  will  bring  to  their  work,  will  more  than  make 
up  for  the  time  taken  by  the  exercise. 


9 


For  Beaeing  of  Body. 


1.    Risino-. 


►Sitting. 

3.  Military  poistion. 

4.  Chest  percussion. 

5.  Arm  movements. 

a.    Fore-arm  horizontal. 
h.    Fore-arm  vertical. 
G.    Shoulder  movements. 
a.    Up  and  down. 
h.     Forward  and  back. 

7.  Walk  with  bag  of  sand    poised  upon  head. 

8.  Stand  erect  against  Avail,  advance  five  ]3aces,  return 
to  position. 


10 


NOTES.  1 1 


12 


NOTES. 


PHYSICAL   EXERCISES. 

When  tho  children  are  to  take  tlieir  se.'its,  have  them 
carry  the  foot  nearest  the  seat  as  directly  to  the  side  as 
possible,  l)riiiiTing  the  foot  very  nearly  in  a  line  with  the 
front  of  the  chair,  carry  the  weight  upon  that  foot,  slightly 
turn  the  body  and  sit,  taking  care  that  the  body  does  not 
i^wiiy  forward,  but  that  it  sinks  directly  in  the  seat,  brought 
there  by  a  combined  movement  of  the  knee  and  hip,  and 
a  simultaneous  turning  of  the  body. 

Where  the  children  must  turn  to  the  right  or  the  left 
in  their  seats  before  rising,  see  that  the  feet  are  lifted 
noiselessly,  and  placed  in  position  without  scraping,  scuf- 
lling,  or  striking  either  floor  or  desk.  From  the  first  in- 
sist  upon  this,  and  repeat  until  it  is  done  as  required. 
Never  announce  that  it  is  to  be  done  quietly,  but,  if  it 
is  not,  then  make  the  requirement.  Have  those  whose 
left  arms  rest  upon  the  desk  bring  the  left  foot  well  back 
under  the  seat,  turning  the  right  slightly  outward,  the  heel 
falling  inward.  Bring  the  right  foot  back  so  that  the 
right  leg  forms  a  right  angle,  the  left  foi-ming  an  acute 
angle.  In  rising  from  the  seat,  bear  the  weight  upon  the 
ball  of  the  right  foot,  and  rise  steadily,  keeping  the  body 
upright,  and  avoiding  the  bending  at  the  waist,  which 
causes  the  body  to  shoot  into  the  lengths  before  assuming 
the  vertical  position.  One  step  will  bring  the  pupil  facing 
to  the  front,  ready  for  the  exercises.  Do  not  permit  any 
arranging  of  vest,  overskirt  or  hair,  or  any  shaking  or 
hitching  of  body,  but  insist  that  the  position  shall  be  taken 
quietly,  without  bustle  or  fuss.  Require  prompt,  military- 
like precision  in  all  exercises  of  this  character,  and  accept 
nothing  else.  Place  the  heels  together,  feet  at  an  angle  of 
sixty  degrees,  and   carry  the   weight  upon   the  balls  of 

13 


14  OKDKK    OF    KXEECISES. 

the  feet;  limbs  perfectly  straight;  hips  even.  Avoid  any 
throwing  out  of  thehip,  "slouching  at  hip,"'  as  it  is  called, 
and  which  is  sometimes  prescribed  as  an  exercise.  It 
weakens  the  muscles  of  the  hip,  and  is  never  to  be  per- 
mitted. Correct  it  wherever  and  whenever  seen,  for  it 
causes  the  common  deformity  of  a  hip  higher  by  two  inches 
or  more  than  is  normal,  besides  inducing  an  unpleasant 
carriage  of  the  lower  part  of  the  torse. 

Carry  the  chest  easily  active  —  avoid  that  extreme  lift- 
ing of  the  chest  which  makes  a  child  look  pigeon-breasted 
—  and  bo  careful  that  the  abdomen  is  not  thrown  out  in 
sucli  a  way  that  the  back  is  curved,  instead  of  compara- 
tively straight,  as  desired.  Draw  in  the  abdomen  slightly 
as  the  chest  is  raised,  and  the  position  will  be  correct. 
Drop  the  arms  easily  at  the  side;  see  that  the  shoulders 
are  even.  Hold  the  head  erect,  tlie  crown  the  highest 
point;  draw  in  the  cliin  slightly,  eyes  to  the  front,  lifted 
just  above  tlie  horizontal. 

liequire  this  position  to  bo  liold  immovably  for  one,  two, 
ten,  or  thirty  seconds,  accoi'ding  to  the  age  of  the  chil- 
dren, for  you  are  working  for  discipline  of  tlie  body,  and 
any  wavering  of  eye,  or  restlessness  of  poise,  defeats  your 
purpose. 

Physical  exercises  are  generally  looked  ujion  as  a 
means  for  improving  the  bodily  health.  That  they  are  a 
benefit  to  the  health,  by  bringing  the  body  to  act  more  in 
harmony  with  the  laws  of  its  oi'ganism,  is  true,  but  that  this 
is  their  main  purpose  is  a  serious  mistake.  The  body  is 
trained  that  it  may  be  a  better  medium  for  the  soul.  All 
expression  of  the  being  is  through  the  body,  and  any  ob- 
structions, whether  they  arise  from  unused  muscles,  con- 
sciousness of  defects,  or  lack  of  control,  are  so  many  barriers 
to  the  full  and  free  expression  of  that  for  which  alone  the 
body  exists.     "Strength  at  the  center,  freedom  at  the  sur- 


PHYSICAL    KXKItCISES.  15 

face,  is  the  true  condition  of  Loing."  Jlodj  and  soul  are  a 
unit,  and  they  must  be  developed  harmoniously.  Nor  soul 
helps  body  more  than  body  soul,  must  be  the  belief  of  the 
teacher  who  would  secure  all-sided  growth. 

This  fact  is  true  of  all  tribes  and  races  of  men;  the 
same  emotions  bring  into  i)lay,  in  expression,  the  same  set 
of  muscles.  Bring  into  action  a  set  of  muscles  whose  office 
is  to  exj^ress  a  certain  emotion,  and  by  reflex  action  the  con- 
sciousness of  the  corresponding  emotion  will  be  effected. 
Thus  attitudes,  bearings  and  inflexions  not  only  express 
emotion,  but  they  have  a  direct  and  immediate  reaction  in 
the  repi'oduction  or  enhancement  of  the  emotion  already 
reproduced.  Wrong  atfihides  produce  wrojig  emnfinm^. 
Thus  tlte  development  of  normal  expi'ession  is  in  the  highest 
degree  ed/tcative.  and  the  connection  of  wrong  attitudes  of 
the  highest  moral  importance. 

Follow  the  exercise  foi'  bearing  hy  an  exercise  for 
developing  the  chest.  As  it  is  impossible  to  describe  such 
an  exercise  by  words  alone,  I  refer  teachers  to  pages  20  and 
21  of  Monroe's  Manual,  published  by  Cowperthwait  &  Co., 
Philadelphia,  and  advise  the  use  of  exercises  ii,  iii  and  iv. 
Similar  exercises,  equally  good,  will  be  found  in  Gutt- 
mann's  ^Esthetic  Physical  Culture,  published  by  Edgar  S. 
Werner,  Albany,  N.  Y. ,  using  figures  xviii,  xix,  xx  and  xxi. 

For  doing  away  with  stiffness  of  the  shoulders,  so  com- 
mon in  self-conscious  children,  move  the  shoulder  lazily  up 
and  down  several  times  in  succession,  .then  forward  and 
back  in  the  same  way. 

These  exercises  make  one  of  several  sets  that  I  have 
arranged  for  use  in  public  schools.  They  will  be  found 
sufficient,  except  in  especially  bad  cases,  for  their  purpose, 
—  namely,  symmetry  of  the  body  and  a  correct  bearing. 
A  few  exercises  carefully  given  and  thoroughly  mastered 
are  better  than  a  great  number  given  in  a  slip-shod  manner. 


BEEATHING  EXEKCISES. 


1.  Military  position. 

2.  Position  of  arms. 

3.  Rib  movements,  independent  of  breath. 

4.  Tliorougli  expansion  of  lungs.- 

5.  Side  action  without  breatli. 
(5,  Side  action  with  breath. 

7.  Impelling  of  breath  from  diaphragm.  - 

8.  Active  chest,  followed  by  passive. 

9.  Active  chest  held,  count  live. 

10,  Active  chest,  walk  about  room,  count  as  many  as 
possible  on  one  breath. 


16 


BEEATHING  EXERCISES. 


1st.  Stand  in  military  position,  weight  upon  the  balls 
of  the  feet. 

Place  the  hands  as  high  and  as  far  back  as  possible  at 
the  turn  of  the  ribs,  relax  the  side  muscles  (withdraw  the 
energy)  and  press  the  ribs  forward.  Immediately  throw 
them  forcibly  back  to  position.  Knead  the  ribs  from  the 
extreme  upper  portion  to  the  lower  or  floating  ribs,  and 
repeat. 

The  purpose  of  this  exercise  is  to  make  more  flexible 
the  cartilage  between  the  sternum  and  the  ribs.  Upon  the 
elasticity  of  this  cartilage  depends  the  lateral  enlargement 
of  the  cage  in  which  the  lungs  are  imprisoned. 

In  taking  this  exercise,  withdraw  the  energy  from  the 
muscles  that  move  the  ribs,  letting  them  remain  passive 
during  the  pressing  forward  of  the  I'ibs. 

4th,  Stand  in  military  position.  Place  the  hands  as 
high  and  as  far  back  as  possible  at  the  turn  of  the  ribs. 
Send  out  the  breath  in  a  sigli.  Inhale  slowly  and  audibly 
through  a  small  aperture  in  the  lips,  the  sound  produced 
being  the  consonant  f .  Let  the  rib-muscles  that  pull  open  the 
rib  cage  remain  passive  during  this  exercise,  and  slowly  fill 
the  lung.  Having  inhaled  all  the  air  possible  in  this  posi- 
tion, lift  the  shoulders  and  inhale  until  the  lungs  are  com- 
pletely filled.  Retain  the  breath  for  ten  seconds,  using 
effort,  if  need  be;  resist  the  inclination  to  expel  the  air 
immediately,  for  the  object  in  this  exercise  is  as  much 
to  gain  control  over  the  breath-impelling  muscles  of  the 
thorax  as  to  enlarge  the  air  cells,  and  every  surrender  to 


IH  OHDEK    OF    EXERCISES. 

the  inclination  renders  this  more  difficnlt.  The  time  of 
liolding  the  breath  is  to  be  gradually  increased  to  thirty  or 
forty  seconds,  bnt  begin  with  ten.  or  even^ye  seconds,  and 
(jradually  increase  time  of  holding.  T'i^/'//  ^loirly  exliale 
through  a  small  aperture  in  the  teeth,  n.sing  the  consonant 
sound  sh  (as  in  shall).  Repeat  the  above  movement,  omit- 
ting the  sigh,  but  not  as  thoroughly  as  at  first,  the  inhaling, 
holding  and  exhaling  taking  less  time;  inhale  through  the 
nostrils,  exhale  in  a  sigh  and  resume  ordinary  breathing. 

Practice  the  above  but  twice  a  day,  in  the  middle  of 
the  forenoon  and  the  afternoon  —  repeat  the  exercise 
each  time.  Never  practice  a  breathing  exercise  within  an 
hour  before  or  after  eating.  If  this  rule  be  not  observed, 
indigestion  is  almost  sure  to  be  induced.  See  that  the 
room  is  well  warmed  and  well  aired,  for  the  breath  is 
taken  through  the  mouth,  partly  for  the  purpose  of  regu- 
lating the  escaping  breath  by  the  ear  (the  pupil  listening 
and  so  determining  the  impelling  force),  and  partly 
because  it  is  easier  for  the  pupil  to  regulate  the  aperture 
Avhen  inhaling  through  the  mouth  than  when  inhaling 
tiirough  the  nose.  There  is  uo  danger  in  this  if  the  room 
is  ventilated  and  warmed,  for  the  stream  of  air  is  so  slight 
that  it  is  thoroughly  warmed  and  moistened  before  reach- 
ing the  lungs.  A  glass  or  rubber  tube  is  excellent,  and 
perhaps  safer  on  the  whole,  for  inhalation.  In  cases  of 
weakness,  or  of  undeveloped  air  cells,  physicians  often 
order  these  tubes;  they  can  be  obtained  at  any  drug  store. 
A  goose  quill,  after  passing  a  shawl  j^in  through  the  nib, 
will  answer  every  purpose. 

Impress  upon  the  children  the  necessity  of  keeping 
the  mouth  closed  and  of  breathing  through  the  nostrils 
when  running  or  in  the  cold  winter  air.  The  air,  when  pass- 
ing through  the  nose,  is  brought  nearer  the  temperature  of 
the  Inngs,  warmed  and  moistened,  and  the  delicate  mem- 


XOTES.  19 


NOTES. 


BREATHIXG   EXERCISES.  21 

branes  of  the  lungs  are  not  chilled.  Most  of  the  colds,  lung 
fever  and  pneumonia  could  be  prevented  were  we  careful 
to  keep  the  school-rooms  cooler,  better  ventilated,  and  the 
children's  mouths  covered  or  closed  upon  first  going  out 
into  the  frosty  air. 

5th.  Place  tlie  hands  upon  the  floating  ribs  just  above 
the  waist  line.  Kelax  the  muscles  of  the  waist  and  press 
slowly  inward.  Follow  this  by  throwing  outward  the  side 
muscles,  willing  the  muscles  to  make  this  lateral  movement 
and  not  accomplishing  it  by  action  of  the  breath.  Imagine 
that  you  have  on  a  tight  belt  and  try  to  burst  it.  Be  sure 
that  the  movement  outward  is  a  gradual  and  steady  one. 
Re]3eat  this  exercise  tliree  times. 

Purpose — To  give  strengtii  and  flexibility  to  the  side 
muscles,  which  play  an  important  part  in  determining 
the  force  of  a  tone. 

6th.  Place  the  hands  in  the  same  position  as  in  No.  3, 
and  expel  the  breath  from  that  point;  immediately  inhale, 
expanding  the  sides  against  the  hands.  Repeat  three 
times. 

Purpose — Intelligent  direction  of  the  breath,  the  use  of 
the  muscles  of  the  thorax  determining  the  force  of  tone, 
the  voice  being  soft  or  loud,  jaathetic  or  cold,  broken  or 
firm,  as  these  muscles  are  relaxed  or  energized. 

7th.  Place  the  tips  of  the  fingers  at  the  waist  just 
below  the  sternum  and  between  the  floating  ribs,  the 
thumbs  extended  to  the  sides.  Impel  the  breath  through 
a  small  aperture  in  the  lips  from  this  central  point,  the 
sides  remaining  passive,  the  action  at  the  diaphragm  being 
inward  as  the  breath  is  sent  outward.  See  that  the  chest 
does  not  fall  during  this  exercise,  and  repeat  three 
times. 

8th.  Active  chest  followed  by  passive  chest.  Place 
one  hand  upon  tliQ  chest,  the  other  upon  the  abdomen, 


23  ORDER    OF    EXERCISES. 

and  lift  the  chest  directly  upward;  very  slowly  depress  it, 
without  the  inhaling  or  exhaling  of  the  breath. 
The  chest  represented  by  a,  tlie  abdomen  by  Ji. 

\"- 
Thus  -  — 

(h. 

You  take  from  h  and  give  to  a  in  tlie  active  chest,  from  n 
and  give  to  h  in  the  passive  chest.  Be  careful  during  this 
exercise  to  stand  in  tlie  military  position,  perfectly  erect, 
and  not  to  throw  out  the  abdomen  by  bending  the  back. 

9th.  Stand  in  military  position.  Place  the  tips  of  the 
fingers  upon  the  chest  just  below  the  collar  bone,  and  with 
the  chest  in  a  normal  condition  count  five  slowly,  with  con- 
siderable force,  seeing  that  the  chest  is  immovable  during 
the  counting. 

10th.  Position  the  same  as  above,  inhale  an  ordinary 
breath  through  the  nostrils,  and  walk  about  the  room 
counting  rapidly  on  one  breath  as  many  as  possible  before 
the  chest  begins  to  fall.  Stop  the  moment  there  is  the 
slightest  depression. 

Many  other  exercises  could  be  mentioned,  but  these  prop- 
erly given  will  be  sufficient  to  accomplish  what  is  desired, 
namely,  development  of  the  air  cell,  control  of  the  breath- 
impelling  muscles,  and  strength  and  elasticity  of  the 
various  tissues,  cartilages  and  muscles  of  the  thorax. 

Were  all  school-rooms  properly  ventilated,  were  all 
teachers  thoroughly  instructed  in  hygienic  principles,  were 
all  children  healthy  and  active,  breathing  exercises  would 
not  be  required,  l^iit  unfortunately  for  the  children,  edu- 
cators have  so  persistently  fixed  their  attention  upon  the 
development  of  mind,  and  mind  alone,  that  they  have  lost 
sight  of  it  in  its  relation  with  a  body.  It  is  the  improper 
edvenfion  of  children,  together  with  their  improper  dress, 
which  makes  breathing  exercises  a  necessity.    A  dog,  upon 


BREATHING    EXERCISES.  23 

iirst  awakening,  alwr.ys  stretches  himself  and  yawns  vigor- 
ously. A  baby  does  the  s;uiie.  A  child  of  two  or  three 
years,  after  watching  with  absorbing  interest  some  won- 
derful reveUition  of  tlio  outer  workl,  heaves  a  deep  sigh  and 
(ixpands  its  tiny  breast  as  if  to  throw  off  tlie  weiglit  of  care 
Ivhicli  solving  tlie  mysteries  of  creation  lias  laid  upon  it. 
'■■  Children  of  an  older  growth/'  pursuing  some  shadowy 
phantom  of  an  idea  through  the  deep  caves  of  thought, 
almost  suspend  the  breath  during  the  operation,  the  first 
act  upon  capturing  and  senfencinf/  the  vugrant  image  being 
to  fill  the  depleted  lungs  as  fully  as  possible,  and  to  assume 
a  j)osition  in  wliich  they  can  most  easily  perform  their 
function.  Attention,  interest,  study,  reflection,  purely  in- 
tellectual effort,  all  have  a  tendency  to  make  the  act  of 
respiration  less  vigorous,  and  to  induce  a  position  of  body 
which  cramps  the  lungs.  Such  being  the  case,  the  teacher 
should  see  to  it  that  the  child  alternates  his  occupations 
and  duties  in  such  a  manner  that  a  position  which  is  detri- 
mental to  the  health,  not  only  of  the  body,  but  of  the 
mind  as  well,  is  not  induced,  a  position  which  the  world 
over  is  known,  when  fixed  by  habit,  as  the  '^ student's 
bearing.*'  One  would  suppose  that  a  fact  so  common  as 
that  of  the  natural  desire  of  the  lung  to  fill  itself  with  air 
after  having  been,  for  any  cause,  deprived  of  the  accus- 
tomed su^^i^ly,  would  be  well  understood  by  teachers,  but  I 
mention  the  above  because  I  have  seen  children  in  primary 
schools,  after  close  attention  to  the  work  demanded  of 
them,  punished  for  doing  what  nature  absolutely  demanded 
that  they  should  do  in  order  to  keep  their  little  bodies 
in  a  sound,  healthy  condition. 

Another  i")oint  to  Avhicli  I  Avish  to  direct  the  teacher's 
attention  is  that  of  dress.  If  the  clothing  in  any  Avay 
confines  waist  muscles,  and  the  breathing  must  perforce  be 
either  clavicular  or  abdominal,  let  the  breathing  exercises 


34  ORDEK  OF   EXERCISES. 

alone.  On  no  co7idition  practice  them  in  tight  clothing, 
the  bursting  of  a  blood-vessel  or  serious  organic  disturb- 
ances being  the  result  where  the  above  directions  are  not 
observed.  The  crying  need  among  school  children  is  for 
suitable  clothing — clothing  that  shall  not  confine  the 
arms,  chest,  waist,  legs  or  feet.  It  is  an  absolute  necessity, 
if  we  look  to  the  best  good  of  tlie  child,  that  the  limbs  and 
organs  during  growth  should  not  be  cramped  or  confined  in 
any  way.  Development  of  body  and  grace  of  movement 
depend  entirely  upon  freedom  in  action.  Put  a  high  linen 
collar  on  a  kitten,  confine  its  limbs  in  tight  sleeves  that 
prevent  freedom  of  movement,  compress  its  chest  and 
waist  muscles  with  buckram,  weight  it  Avith  a  blanket,  and 
finish  by  putting  tight  shoes  upon  its  feet,  and  then  watch 
its  graceful  (?)  gambols  and  congratulate  yourself  upon 
your  perception  of  and  conformity  with  God's  unalterable 
laws  as  exemplified  in  \\U  wonderful  creation,  the  animal 
body. 


DECOMPOSING  EXERCISES. 


1.  Eyelids,  one. 

2.  Jaw,  one. 

3.  Neck,  fourteen. 

a.     Drop  head  to  right,  left,  forward  and  back. 

4.  Spine,  eight. 

a.     Preserve  unity  of  body,  drop  forward,  to  the 

right,  backward,  to  the  left. 
h.     Break  at    waist,  drop  forward,  to  the  right, 

backward,  to  the  left. 

5.  Shoulders,  three. 
G.     Elbows,  one. 

7.  Wrist,  five. 

8.  Fingers,  two. 

9.  Twisting  of  waist  muscles. 

10.  Ankles,  one. 

11,  Knees,  one. 
13.     Hips,  three. 

13.     Whole  body,   drop   to    floor,    forward,    to   right, 
backward,  to  left. 


25 


DESCRIPTION  OF  DECOMPOSING  EXERCISES. 


1  and  2.     Eyelids  and  jaw. 

Witiidraw  tlie  energy  from  the  eyelids, 
simulating  sleep;  drop  the  jaw  helplessly, 
tlioii  move  it  np  and  down  Avitli  the  liand. 

•^,     jSeck. 

a.  Let  tlie  head  fall  forward  upon  the  breast  as 
when  one  is  overcome  by  sleep.  Let  the 
head  drop  backward,  to  the  right,  and  to  the 
left. 

b.  Turn  the  head  slightly  to  the  right,  decom- 
pose and  drop  forwai'd,  tlien  raise  and  let  it 
fall  bac'kward  at  the  same  angle;  make  live 
turns  to  the  right,  repeating  the  same  action. 
Same  to  the  left. 

4.     Spine. 

a.  Withdraw  energy  fi-oni  eyelids,  jaw,  head, 
letting  the  head  drop  I'orwai'd  upon  the 
breast;  follow  by  withdrawing  enei-gy  from 

•  shoulders,  letting  the  head  drag  the  body 
over  until  the  top  of  the  head  points  to  the 
earth.  Continue  this  movement,  bending  as 
far  as  possible  until  there  is  danger  of  fall- 
ing, then  suddenly  rectover  the  equilibrium. 
Repeat  this  movement  to  right,  left  and 
backward. 

b.  Stand  in  military  position,  sway  forward 
carrying  the  weight  to  the  toes,  bending 
only  at  the  ankle.     When  in  danger  of  losing 

m 


NOTES.  27 


28  ^'OTES. 


DESCRIPTION   OF   DECOMPOSING   KXKHCISES.  20 

equilibrium  suddenly  recover  the  poise.     Re- 
])eiit  the  above,  to  right,  left  and  backward. 

5.     Shoulders. 

<i.     Raise  arms  above  head,  withdraw  the  energy 

and  let  the  arms  drop  lifelessly  at  the  side. 
h.  Let  the  arms  hang  lifelessly:  turn  the  body 
from  side  to  side,  twisting  at  the  ankles,  at 
the  same  time  twisting  the  torso  as  a  })etulant 
child  would  do.  Tlie  arms  are  thrown,  by 
this  combined  movement,  in  every  direction. 
c.  Sway  the  body  obli({nely  forward  and  l)ack; 
separate  the  feet,  bend  the  knee  as  the  body 
sways,  and  let  the  arms  be  thrown,  like 
empty  coat  sleeves,  forward  and  back  as  the 
body  moves. 

G.     Klbows. 

Raise  the  upper  arm  directly  to  side  to  a 
level  with  the  shoulder,  withdraw  the  energy 
from  fore-arm  and  hand,  move  upper  arm 
forward  and  back,  and  let  the  fore-arm  and 
hand  dangle  lifelessly  from  the  elbow. 

7.  Wrist. 

a.  Turn  the  palms  of  hands  toward  body, 
the  fingers  opposed;  shake  the  hand  up 
and  down,  the  motive  power  being  in  the 
fore-arm. 

b.  Palms  toward  earth,  lingers  pointing  out- 
ward, movement  vertical. 

i\  Palms  opposed,  fingers  pointing  out,  move- 
ment horizontal. 

il.  Rotary  movement  of  fore-arm  from  elbow, 
towai'd  center. 

r.     Rotary  movement  of  fore-arm,  from  center. 

8.  Fingers. 


;iO  \)ljnEH   01?   EXERCISES. 

a  rjras})  the  first  phalanges  of  the  left  hand 
with  the  riaht.  hold  lii'mly,  at  the  same  time 
moving  tlie  ii-ft  liaiid  easily  nj)  and  (k)\vn. 
lie  careful  that  the  left  hand  he  limp  and 
that,  while  the  joints  move  freely,  the  move- 
ment is  not  vigorous,  as  otherwise  the  joints 
])eco]ne  enhirged.  (J rasp  the  first  aiul  second 
])ha]angcs  and  repeat  tlie  ahove — then  lirst, 
second  and  Ihirch 
I).  Hold  the  phalanges  of  the  right  hand  with 
the  left,  and  exercise  in  the  same  manner. 
Free  the  joints  of  the  thnmlis  in  tlio  same 
manner. 
Tills  exercise  is  oidy  necessary  where  the  hand   has 

hecome  stilt'  and  nn manageable,  either  throngh  hard  Avork 

<»r  over  energizing. 

9.  Twisting  of  waist  mnscles. 

Sit  in  chair,  keep  the  head  immovable  and 
twist  the  shoulders  as  far  as  possible,  first  to 
right,  then  to  left.  Relax  the  waist  muscles 
and  make  the  movement  as  easily  as  possible. 
As  soon  as  an  independent  movement  of  the 
waist  muscles  can  be  given,  let  the  pupils 
stand  and  give  the  exercise. 

10.  Ankles. 

Bear  the  weight  upon  one  foot,  raise  the  other 
from  theground,  withdraw  the  energy,  shake. 

11.  Knees. 

Lying  upon  the  back,  lift  the  limb  and  shake 
the  leg  de-energized  below  the  knee,  just  as 
the  fore-arm  is  shaken  from  the  elbow. 
1^.     Hips. 

ff.    Stand  npon  footstool,  swing  the  limb  forward 
and  back  lazilv.     Be  careful  not  to  swing  too 


bESCRIPTION    OF    DECO.M  POSIN(i    KXEItCtsKS.  ;>l 

vigorously  as  tlicre  is  danger  of  throwing  the 
limb  out  oj'  joint. 

h.     Stand  upon  ono  foot,  swing  the  leg  from  side 
to  side  with  a  circular  motion. 

c.  Stand  upon  ono  foot,  lift  the  other  from  the 
floor,  the  same  movement  as  in  taking  a  step, 
greatly  exaggerated,  relax  and  let  the  foot  and 
limb  fall.  The  action  resembles  the  pawing 
of  a  horse,  aside  from  the  energy  in  foot. 
13.  This  exercise  decomposes  the  whole  body.  Use  a 
mattress  until  all  fear  of  falling  has  disap- 
peared. 


PEODUCTION  OF  VOICE. 


Sound  is  an  eli'eet  produced  upon  the  auditon'  nerves 
by  bodies  in  a  state  of  molar  vibration.  Any  form  of  mat- 
ter, solid,  liquid,  or  gaseous,  is  capable  of  this  vibration 
and  of  originating  sound.  A  body  is  in  motion  when  it 
moves  en  masse  from  point  to  jioint ;  in  vibration  Avhen  its 
particles  are  in  motion,  making  an  excursion  to  and  fro,  but 
the  body  itself  remaining  unchanged  as  to  its  position  in 
space. 

Bodies  vibrate  as  wholes  and  also  in  segments.  The 
vibration  of  the  body  as  a  whole  is  called  its  fundamental 
vibration;  of  the  segments,  its  harmonic  vibration.  The 
fundamental  vibration  is  slower  than  the  harmonic. 

Vibrations  can  be  communicated  from  one  form  of 
matter  to  another,  fi'om  one  body  to  surrounding  bodies. 
Any  form  of  matter  will  convey  vibrations,  but  some 
mediums  offer  less  resistance  than  others.  The  air  is  the 
common  medium  of  sound  propagation.  Each  vibration  of 
the  sounding  body  sets  in  motion  the  molecules  of  air 
immediately  surrounding  it;  these  bound  forward,  strike 
other  molecules,  and  fall  back  to  j^osition,  only  to  repeat 
the  oscillation,  if  tlie  body  still  continues  to  vibrate.  This 
impulse  forward,  communicated  from  molecule  to  mole- 
cule, spreads  in  every  direction,  i)roducing  a  spherical  air- 
wave which  breaks  upon  surrounding  bodies,  its  extent 
depending  upon  the  initial  force  which  produced  it,  and 
the  resistance  of  the  medium  which  conveys  it. 

Each  vibration  of  the  body  causes  the  molecules  of  air 
to  be  compressed  iu  front  of  it,  and,  as  it  retreats,  leaves  a 

'62 


PRODUCTION   OF  VOICE.  33 

partial  vacuum  behind  it;  this  is  repeated  at  every  subse- 
(jueut  vibration.  These  condensations  and  rarefactions, 
successively  propagated  through  the  air,  constitute  what 
is  termed  the  sonorous  wave.  This  wave  has  height  and 
depth,  length,  and  rate  of  movement.  Tlie  distance 
i)etsveen  two  successive  condensations  shows  the  length  of 
the  wave. 

A  sound  is  heard  when  the  air  wave  impinges  upon  the 
circular  tympanic  membrane  Avhich  closes  the  external  ori- 
fice of  the  ear,  and.  througli  tlie  mechanism  created  expressly 
for  it,  the  shock  is  communicated  to  the  auditory  nerves, 
and  transmitted  to  the  brain. 

The  conditions  necessary  for  the  production  of  mund 
are,  a  vibrating  bod}^  and  a  medium  that  will  transmit  the 
vibrations  to  some  part  of  the  body  in  communication  with 
the  auditory  nerves. 

The  force  of  a  tone  is  its  relative  loudness  and  softness. 
This  is  determined  by  the  initial  molar  vibrations  of  the 
isonorous  body,  the  path  described  by  the  oscillation  of  each 
molecule  to  and  fro.  The  more  energetic  the  vibration  the 
louder  the  sound,  and  vice  versa. 

The  pitch  of  a  sound  is  its  relative  high  or  low  effect. 
This  is  determined  by  the  rate  of  vibration  in  the  sound- 
ing body.  The  slower  the  vibration,  the  deeper  the  pitch; 
the  more  rapid  the  vibration,  the  shriller  or  higher  the 
pitcli.  In  distinguishing  pitch  the  ear  is  limited  in  range 
in  both  directions,  Helmholtz  placing  the  lower  limit  at 
sixteen  vibrations  per  second,  the  higher  at  thirty-eight 
thousand  per  second,  the  entire  range  embracing  about 
eleven  octaves. 

The  quality  of  a  sound  is  that  peculiar  difference  wliicli 
distinguishes  it  from  every  other  sound.  Two  or  more 
sounds  may  be  alike  in  pitch,  or  of  the  same  intensity,  but 
never  alike  as  regards  quality.     It  will  be  remembered  that 


34  ORDER   OF    EXERCISES. 

bodies  vibrate  as  a  -whole,  and  also  as  parts,  that  the  funda- 
mental vibrations  are  slower  than  tiie  harmonic  vibrations, 
and  consequently  a  body  in  vibration  is  producing,  with 
every  periodic  vibration,  sound  Avhicli  varies  in  pitch. 
The  tone  produced  at  the  vocal  chords  is  termed  the  fun- 
damental; the  re-inforcements  of  the  fundamental  by 
the  tones  produced  l)y  the  resonaiH^e  of  the  cavities 
anterior  to  the  vocal  chords  are  called  its  harmonics 
or  overtones:  and  the  two  blended  determine  the  quality 
of  the  sound.  These  harmonics  or  overtones  differ  in 
bodies  whoso  fundamental  tones  are  the  same;  for  instance, 
two  bells  are  in  perfect  unison  as  to  their  fundamental 
tones,  while  their  overtones  are  discordant;  consequently 
they  will  differ  in  quality. 

The  amplitude  of  the  sound  wave  shows  the  intensity 
of  the  sound.  The  length  of  the  sound  wave  determines 
the  pitch  of  the  sound;  and  tlie  form  of  the  sound  wave 
determines  the  quality  of  the  sound,  which  is  pleasant  or 
unpleasant,  agreeable  or  disagreeable  as  its  overtones  are  in 
unison  with  its  fundamental  tone. 

Voice,  a  particular  variety  of  sound,  produced  by  the 
vocal  apparatus  of  the  animal  body,  obeys  in  its  production, 
the  law  of  the  general.  It  is  produced  at  the  vocal  chords, 
which  are  thrown  into  vibration  by  means  of  breath 
impelled  from  the  thoracic  or  chest  cavity.  These  chords 
ran  be  lengthened  or  shortened,  and  the  pitch  varied,  a 
range  of  from  two  to  three  octaves  being  the  extent  of  the 
human  voice. 

Anterior  to  the  vocal  chords  are  the  cavities  of  the 
mouth  and  of  the  nose,  which  produce  through  their  sympa- 
thetic vibrations,  tones  which  reinforce  the  tones  produced 
by  the  vocal  chords,  and  largely  determine  the  quality  of 
the  voice.  By  the  different  adjustments  of  these  cavities 
certain   overtones  are   reinforced,  while   others   are   not. 


NOTES. 


35 


3G  NOTES. 


PRODUCTION"    OF   VOICE.  37 

giving  I'i.so  to  different  qualities  of  sound  whiuli  uro  dis- 
tinguished as  the  vowel,  consonant  and  glide  elements  of 
speech. 

Quality  of  Yoice, 

The  quality  of  the  voice  depends  ujiou  the  cavities 
anterior  to  the  vocal  chords.  These  cavities  are  changed 
by  the  different  adjustment  of  the  so-called  organs  of 
speech  — the  lips,  teeth,  cheeks,  tongue,  palate  (hard  and 
soft),  and  the  uvula,  together  with  the  change  effected 
in  the  cavity  directly  above  the  true  vocal  chords  by  the 
action  of  the  false  vocal  chords,  different  elevations  and 
depressions  of  the  epiglottis  and  nvula,  and  the  contraction 
of  the  posterior  pillars  of  the  soft  palate.  These  all  modify 
what  we  term  the  quality  of  the  voice,  but  the  first  more  par- 
ticularly affect  what  are  termed  the  elements  of  speech  — 
consonants,  vowels  and  glides — while  the  second  affect  voice 
proper."  8till  another  element  plays  its  part,  and  that  an 
important  one,  in  determining  the  quality  of  a  voice  or 
tone  quality,  and  that  is  the  structure  or  conformation  of 
the  cavity,  which,  differing  with  every  individual,  must 
essentially  modify  each  individual  voice.  Any  defects 
which  arise  from  the  first  two,  it  will  easily  be  seen,  are 
remedied,  because  brought  about  by  improper  adjust- 
ments, which  have  become  automatic  and  habitual.  The 
same  mechanical  processes  by  which  they  were  acquired 
may  be  brought  into  play,  the  pi'0})er  adjustment  may  be 
made  and  the  action  repeated  until  it  in  its  turn  sinks  into 
the  automatic.  The  defects  arising  from  congenital  con- 
formation, nnevenness  of  the  roof  of  the  mouth,  height  or 
depression  of  the  arch  of  the  mouth,  small  throat,  etc.,  are 
not  to  be  overcome  by  educ-ation. 

A  distinction  must  be  made  between  voice  quality  and 
speech   quality,   and   discrimination   used    in    the   appli- 


o8  ORDER   OF    EXERCISES. 

cation  of  the  exercises  given.  ^'otliing  is  more  com- 
mon than  a  sweet  voice  with  a  bad  articuhition,  or 
distinct  articulation  with  a  crumped,  unpleasant  voice. 
Again,  the  elements  of  speocli  may  be  properly  pro- 
duced, the  voice  sweet  and  mellow  (no  uncommon  case 
with  foreigners),  and  the  fault  bo  a  substitution  of  one 
vowel,  consonant,  or  diphthong  for  another,  as  daug  for 
dog,  oi  for  I,  an  for  on;  another  common  fault  with  for- 
eigners is  the  substitution  of  an  un-English  element,  as  3 
for  3-1  by  the  French,  and  12  for  12-14:  by  the  Irish.  In 
j)rescribing  for  these  defects,  I  shall  treat  quality  under 
the  two  heads  of  conventional  moditication  of  quality,  and 
natural  modification  of  quality.  The  first  is  arbitrary  and 
fixed,  differing  with  different  nationalities,  an  invention 
of  man,  an  adaptation  of  faculty  to  use  for  the  pur- 
pose of  describing  to  others  that  which  we  feel  or  think; 
the  second,  which  is  from  the  first  involuntary,  inborn, 
and  manifested  under  the  impulse  of  emotion,  demonstrating 
states,  conditions,  and  moods  of  the  mind.  Thus,  I  may 
be  interested,  aiul  the  quality  of  my  voice  will  show  it, 
while  the  speech  will  particularize  —  tell  in  Avhat  I  am 
interested. 

There  is  a  correspondence  between  natural  modification 
of  voice  and  natural  gesticulation  or  play  of  limb  and 
feature,  as  between  speech  and  sign  language.  The 
latter  are  both  artificial  adaptations  of  a  possessed 
means,  to  whi(di  adaptations  arbitrary  means  are  as- 
signed. They  are  alike,  in  that  pi-imarily  they  con- 
sist largely  of  imitations  of  that  which  they  describe,  but 
in  their  development  culture  has  a  tendency  to  make  the 
articulations  grow  more  subtle,  and  each  part  grows  more 
significant  and  expressive.  The  development  of  every  new 
shade  of  thought  or  emotion  calls  for  a  better  medium  of 
expression. 


rRODUCTION  OF  VOICE.  39 

CONVENTIOXAL     MODIFIPATION'     OF     QUALITY — PRODUC- 
TION" OF  THE  Elements  of  Speech. 

These  elements — consonants,  vowels  and  glides — are 
produced,  it  will  be  remembered,  by  the  different  adjust- 
ments of  the  organs  of  speech — lips,  cheeks,  tongue,  etc. 
These  adjustments  are  brought  about  by  the  muscles 
which  move  the  various  parts  mentioned.  It  will  readily 
be  seen  that  any  lack  of  flexibility  and  strength  in  the 
action  of  these  muscles  must  very  materially  atfect  the 
articulation  or  molding  of  the  elements.  The  ear  or  eye 
will  guide  a  ])iipil  whoso  muscles  are  under  the  control 
of  the  will,  and  are,  at  the  same  time  flexible  enough  to 
bring,  quickly,  the  cavity  into  shape;  but  if  these  condi- 
tions do  not  exists  tlien  a  preliminary  practice  of  a  special 
kind  is  required. 

In  the  first  two  years  of  my  teaching,  immobility  of 
lips  and  cheeks,  and  unwieldy  tongues  were  difficulties 
for  which  I  was  not  prepared,  probably  through  lack  of 
comprehension,  on  my  part,  of  instruction  given.  The 
problem  dwelt  with  me  day  and  night,  and  w^as  finally 
solved  through  one  of  luiture's  educators — a  baby.  Walk- 
ing along  the  street  one  hot  summer  morning,  my  atten- 
tion was  suddenly  arrested  by  a  baby  sitting  on  the  side- 
Avalk,  wholly  absorbed  in  the  ma-ma-ma,  or  some  similar 
infantine  babbling  that  his  little  lips  were  awkwardly  fash- 
ioning. The  intent  expression  of  the  smutty  little  face, 
and  the  evident  concentration  of  mind,  which  rendered 
him  oblivious  to  the  noise  of  the  street,  to  passers-by  or  to 
my  observation,  puzzled  me  for  a  moment,  when  suddenly  it 
flashed  across  me,  that  balnj  is  leai^ning  to  talk.  Not  a 
A'ery  brilliant  discovery,  some  may  think,  but  it  opened  up 
to  me  such  a  wide  field  of  investigation  and  suggestion 
that  it  will  ever  remain  as  one  of  the  most  remarkable  dis- 


40  ORDER   OF   EXERCISES. 

coveries  in  my  experience.  I  began  studying  babies  and 
prescribing  their  babblings  where  I  found  the  muscular  de- 
fects mentioned,  and  soon  discovered  that  not  only  was 
there  a  regular  succession  in  which  these  sounds  were  pro- 
duced, but  that  they  were  also  uniform  as  to  kind.  Dar- 
win, who,  in  proving  that  babies,  no  matter  of  what  nation- 
ality or  by  what  intellectual  environments  surrounded,  use 
the  same  preliminary  babblings  in  learning  to  talk,  has 
given  the  teacher  interested  in  defects  of  articulation  an 
invaluable  lesson.  Where  we  follow  nature's  method  we 
cannot  go  wrong. 


THE  ELEMENTS  OF  SPEECU. 


The  elements  of  speecli  ai'e  CMiKsoiuuits,  vowels  ami 
glides.  These  take  their  luuiies  i'l'oiii  certain  marked  pecul- 
iarities characteristic  of  each.  Prof.  Alexander  Graham 
Bell  gives  the  following  definition  of  these  three  elements: 

A  Vowel. — A  vowel  is  a  quality  of  voice  heard  while 
the  organs  of  articulation  are  in  a  definite  fixed  position. 
It  is  non-obstructive  and  syllabic. 

A  CoNSONAXT. — A  consonant  is  a  quality  of  voice 
heard  while  the  organs  of  articulation  are  in  a  definite 
fixed  position.    It  is  obstructive  and  non-s:yIIabic. 

A  Glide. — A  glide  is  a  succession  of  qualities  of  voice 
heard  while  the  organs  of  articulation  are  passing  from 
one  definite  fixed  position  to  anotlier  approximately  definite 
position.     It  is  non-obstructive  and  non-syllabic. 

A  DiPiiTHOXG. — A  diphthong  is  the  union  of  two  vowels 
and  a  glide. 


41 


EXEIICISES  YOU  ORGANS  OF  ARTICULATIOK 


(For  freedom  of  uiovenieut.) 

1.  Drop  the  jaw  lazily,  energy  withdrawn. 

2.  Move  jaw  from  side  to  side,  energy  withdrawn. 

3.  Throw  jaw  forward  and  bark. 

4.  IJepeat  rapidly  ik,  ip,  it. 

T).  liepoat  rapidly  several  times  in  succession  ma",  pa**, 
he\  l)y«-S  bo'--",  ba^'S  me\ 

(').  All-goo;  repeat  ra2)idly  several  times  in  snccession, 
using  cheek  muscles. 

7.  Force  bi'cath  through  lii)s,  for  strengthening  lip 
and  cheek  muscles. 

8.  Itun  out  tongue;  draw  l)ack  and  touch  uvula. 

9.  Fold  back  tip  of  tongue. 

10.  Fold  over  sides  of  tongue. 

1 1.  Groove  tongue. 

12.  Lapping  movement  of  tongue. 

13.  lule,  edo;  rej^eat  r;i])idly. 

14.  Trill  voice  r. 

15.  Trill  voice  r.  running  the  scale. 
10.  Decompose  tongue. 

17.  Kepeat  each  syllable  rajiidly,  several  times  in  suc- 
ession,  j)re',  pra-'"',  pri^',  ]n-o'~"^*. 

18.  Repeat  the   whole   rapidly   several  times  in  suc- 
cession, le,  lay,  li,  lo. 

li).    Kepeat  the  whole  rajiidly  several  times  in  succes- 
sion, do*'"'",  did,  did,  did,  do. 


42 


NOTES.  43 


44  NOTES. 


THE  ORGANS  OF  ARTICULATION. 


For  the  jaw. — A\'itli(lra\v  the  life  and  drop  lazily. 
Open  and  sliut  va])i(lly.  Carry  from  side  to  side  lazily. 
Throw  fiirwai'd  and  hack. 

For  tlip  Up. — Ma-nia-nia-ma-ma-nia;  he-be-be-be-be- 
be;  by-by-by-by-by-])y;  bo-l)()-])o-bo-bo-bo;  l)a-ba-ba-ba-ba- 
ba;  ba-be,  ba-be,  ))a-be:  nio-aJi.  nio-ah.  uii'-ali:  pa-pa-pa-pa- 
pa-pa. 

For  (lie  cheeks. — Ali-goo,  ali-goo,  ah-goo. 

The  two  latter  exercises  are  to  be  repeated  rapidly  after 
they  can  be  distinctly  articnlated.  See  that  the  ah-goo 
draws  the  cheek  backward  and  npward,  and  is  not  accom- 
plished by  tlie  simple  dropping  of  the  jaw. 

Inhale  breath  througli  nostril,  distend  cheeks,  then 
force  breath,  cheek  and  lip  muscles  resisting,  through  a 
small  aperture  in  lips. 

Eepeat  first  lialf  of  above  exercise;  strike  the  cheeks  and 
force  air  through,  striving  to  retain  air  by  the  lips. 

For  the  tongue. — Eun  out  the  tongue  as  far  as  possible, 
then  draw  back  and  touch  the  uvula.  Fold  the  tongue 
from  side  to  side,  withdrawing  the  life  from  the  tongue. 
Fold  back  the  tip.  Do  this  by  aid  of  the  teeth.  Groove 
the  tongue  by  bringing  together  the  sides.  Draw  the 
tongue  in  and  out  rapidly,  striking  the  tip  of  the  tongue 
against  the  teeth  as  it  is  passed  forward  and  back.  The 
sound  heard  will  be  similar  to  that  heard  when  a  dog  is 
lapping  water,  or  where  voice  is  used,  the  babbling  of  a 
baby  when  it  is  learning  to  produce  the  consonant  1,  a 
peculiar  combination  of  b  and  1  being  the  result. 

45 


46  OKDER    OF    EXERCISES. 

J^ajndly  and  clearl}''  enunciate  the  syllables  ede,  edo; 
ede,  edo. 

1'rill  the  consonant  r.  Trill  the  consonant  r,  at  the 
same  time  running  the  scale  up  and  down. 

Decompose  tongue. — Let  the  tongue  lie  lifeless  in  the 
mouth,  take  a  pencil  and  indent  the  surface;  when  it  is 
perfectly  decomposed,  it  will  not  resist. 

The  defects  calling  for  the  above  exercises  will  be  found 
in  childreu  that  are  timid  or  self-conscious,  where  they  are 
deaf  or  hard  of  hearing,  and  where  the  imitative  power, 
owing  to  luck  of  ability  to  discriminate  sounds,  has  not 
been  stimulated  sufficiently  to  give  the  child  the  amount 
of  practice  necessary  for  the  smooth  running  of  the  articu- 
latory  machine.  Prof.  Alexander  Graham  Bell  informs 
me  that  he  finds  exercises  of  this  character  invaluable  in 
teaching  the  deaf  to  speak.  Miss  Mary  McGowen,  a  teacher 
of  the  deaf,  in  Englewood,  111.,  says  that  slie  has  found 
these  exercises  of  great  help  in  her  work,  not  only  with  the 
childreu  that  are  partially  deaf,  but  with  those  that  are 
totally  deaf.  Quite  a  number  of  teachers,  whose  pupils 
were  largely  foreigners,  have  successfully  overcome  the  ener- 
gizing of  the  jaw  so  })revalent  among  the  Scotch;  the  close- 
shut  jaw  of  the  Irish,  and  the  burr  of  the  Germans,  caused 
by  the  substitution  of  tlie  back  for  the  tip  of  the  tongue  in 
articulating  "r. "  They  are  useful,  too,  in  curing  the  in- 
numerable faults  found  in  our  own  children,  caused  by  lazy 
lips,  unwieldy  tongues  and  affectations  so  common  among 
our  self-conscious  little  men  and  little  women. 

Give  exercises  xvii,  xviii  and  xix  on  each  successive 
note  of  the  scale,  trilling  the  r  perceptibly  in  xvii. 


IMPROVEMENT  OF  VOWEL  ELEMENT. 


1.  Two  fingers  in  month,  tip  of  tongue  against  back  of 
lower  teeth;  articulate  i  as  in  ill,  e  as  in  ell. 

2.  Three  fingers  in  mouth,  tongue  as  above;  articulate 
a  as  in  art,  u  as  in  pull,  o  as  in  on. 

3.  Dr.  Cxuilmette's    Vowel  Table  —  each   element   dis- 
tinctly articulated  with  active  whisper. 

4.  Vowel  Table  distinctly  articulated  with  voice. 

5.  Vowel  Table  —  i-e,  i-u,  i-a,  i-o. 

6.  Phonator  reversed —  i  followed  by  e,  e  followed  by  a; 
articulate  rapidly  but  distinctly. 


47 


DR.    GUILMETTE'S   VOCAL   CHART. 


Permutations  of  the  Five  Organie  Voicel  Sounds. 

2        4        i;5        8        10 
1      V]     IT        A      0. 

N.  B. — Let  there  he  :i  proinpl  anil  Jinn  molding  of  the 
sounds  whicli  Dr.  (Juilmette  I'opresents  hy  these  char- 
acters. 

Exercises. 

III. 


1. 

e 

u 

a 

0 

e 

u 

u 

a 

e 

a 

u 

o 

e 

a 

0 

11 

e 

0 

u 

a 

c 

0 
IV. 

a 

11 

o 

e 

u 

a 

(> 

e 

a 

w 

o 

II 

e 

a 

o 

u 

a 

(! 

() 

a 

e 

U 

e 

a 

a 

VII 

i 

u 
11 

e 
(1 

e 

a 

i 

( ( 

u 

e 
e 

a, 
a 

11 
11 

i 
() 

0 

i 

e 

a 

() 

i 

u 

e 

a 

o 

u 

i 

II. 

u 

e 

a 

o 

u 

e 

0 

a 

u 

a 

e 

0 

u 

a 

0 

c 

u 

0 

e 

a 

i 

u 

0 
V. 

a 

e 

e 

i 

u 

a 

o 

e 
e 

i 

i 

'  u 

a, 

<) 
ti 

a 

e 

i 

a 

() 

11 

e 

i 

0 

u 

a 

e 
e 

i 
\ 

0 

rii 

i 

a 

11 

11 
a 

e 

() 

i 

a 

11 

e 

0 

11 

i 

a 

e 

0 

• 
a 

a 
i 

i 
II 

0 

o 

a 

4H 

u 

i 

a 

c 

11 

0 

a 

e 

0 

11 

a 

11 

e 

o 

a 

11 

0 

e 

a 

0 

c 

11 

a 

0 
V!. 

n 

e 

e 

11 

i 

a 

<) 

0 

n 

i 

0 

a 

e 

u 

a 

i 

(> 

0 

u 

a 

0 

i 

c 

n 

0 

i 

a 

e 

u 

0 
IX. 

a 

i 

i 

e 

a 

0 

i 

e 

0 

a 

i 

a 

e 

o 

i 

a 

0 

c 

i 

o 

e 

a 

i 

0 

a 

0 

Dii.  glil:metti:s  vocal  chart. 


40 


X. 

u  0  i  ;t  o 

II  ('  i  ()  ;i 

11  ((  a  i  n 

11  e  II  o  i 

II  0  o  i  n 

II  0  (•  a  i 


XI. 

11  a  i  e  o 

u  a  i  o  0 

11  a  e  i  () 

u  a  e  ()  i 

11  a  o  i  0 

11  a  0  ('  i 


XII. 

11     o  i  e  a 

no  i  a  e 

11     o  c  i  a 

11     o  e  a  i 

u     o  a  i  e 

u     o  a  e  i 


xiir. 


I 
I 

0 

0 

u 

0 

u 

I 

11 

c 

o 

I 

u 

0 

0 

I 

0 

c 

11 

I 

o 

1! 

e 

XVI. 

I 

0 

i 

C 

11 

I 

0 

i 

U 

e 

I 

0 

0 

i 

u 

I 

o 

e 

u 

i 

I 

0 

11 

i 

e 

I 

0 

u 

e 

i 

XI  A'. 

a     0     i     11  o 

a     0     i     o  11 

a     e    11     i  o 

a     OHO  i 

a     e    o     i  11 

aeon  i 


XV. 

a  u  i  e  o 

a  11  i  o  0 

a  u  e  i  o 

a  11  e  o  i 

a  11  o  i  e 

a  11  o  e  i 


XVTT 

XVIII. 

0 

i     e 

11 

a 

o 

e 

i 

u 

a 

0 

i     e 

a 

11 

0 

e 

i 

a 

11 

0 

i     11 

e 

a 

o 

e 

u 

i 

a 

o 

i     11 

a 

e 

0 

e 

11 

a 

i 

o 

i     a 

e 

11 

o 

e 

a 

i 

11 

o 

i     a 

u 

e 

0 

e 

a 

u 

i 

XIX. 

o  11  i  e  a 

o  11  i  a  e 

o  11  e  i  a 

o  u  e  a  i 

o  11  a  i  e 

o  u  a  e  i 


XX. 

o  a  i  e  u 

o  a  i  11  e 

o  a  e  i  u 

o  a  e  11  i 

o  a  11  i  e 

o  a  u  e  i 


IMPROVEMEXT  OF  THE  AVOWEE  ELEMENT. 


Before  taking  up  tlie  vowel  and  consonant  tables  I  give 
some  exercises  for  the  special  improvement  of  the  elements. 
These  exercises  are  those  given  to  me  by  Dr.  Charles 
Guilmette,  a  late  celebrated  teacher  and  singer  of  Boston. 
His  articulation  was  almost  perfect,  both  in  singing  and 
speaking.  Prof.  Lewis  B.  Monroe  acknowledged  his  in- 
debtedness to  Dr.  Guilmette  in  his  Manual  of  Physical  and 
Vocal  Training.  Many  eminent  teachers  of  Boston  and 
vicinity  are  also  indebted  to  him  for  his  wise  and  judicious 
ideas  upon  voice  training. 

Mrs.  Guilmette  has  kindly  permitted  me  to  publish  her 
husband's  consonant  and  vowel  chart.  Teachers  will  find 
this  convenient  and  useful  for  class  practice. 

Exercises  to  be   used  in  Coxxectiox    with 

THE    ClIAliT. 

Place  two  fingers  in  the  mouth  so  as  to  hold  the  teeth 
apart  without  interfering  with  the  tongue;  place  the  tip  of 
the  tongue  against  the  back  of  the  lower  teetl],  depress  it 
through  its  length  as  much  as  possible,  and  articulate  the 
vowels  i  as  in  ill,  e  as  in  ell,  until  they  are  distinct  and  the 
tip  of  tongue  shows  no  inclination  to  leave  the  back  of  the 
teeth.  Place  three  fingers  in  the  mouth,  observe  the  above 
conditions,  ami  articuhife  u  as  in  pull,  a  as  in  art,  o  as  in 
on.  Place  a  stick  an  inch  in  width  between  the  teeth,  and 
articulate  e  as  in  ell,  a  as  in  art,  o  as  in  on,  ra})idly  in  suc- 
cession. 

50 


IMI'KOVKMENT   OK   TKK    VOWEI.    FLEMKXT.  51 

Pkactjcje  a\  rill    iiii:  Vowel  Tajjle. 

i  iis  in  ill 
e  as  in  ell 
a  as  in  art 
11  as  in  pull 
o  as  in  on. 

Give  these  five  sounds,  according  to  the  table,  first  with 
the  active  (loud)  whisper,  then  with  voice.  See  that  eacli 
element  is  firmly  molded  and  very  distinct.  Have  each 
child  give  the  elements  separately  in  order  to  be  sure  that 
they  are  given  distinctly  and  correctly.  Pass  about  among 
the  pupils  during  concert  work  in  order  to  note  any  care- 
less or  slovenly  practice.  One  cannot  be  too  careful  in 
this  direction,  because  articulation  being  arbitrary  and 
wholly  automatic  a  habit  is  quickly  established,  and  the 
lijibits  formed  during  the  i)lastic  age  of  childhood  in  this 
direction,  as  well  as  in  those  of  spelling,  pronunciation  and 
correct  use  of  language,  last  one  a  whole  lifetime. 

Indeed,  one  who  has  been  unfortunate  enough  to  have 
acquired  any  of  these  bad  habits  in  youth  is  never  safe; 
they  are  ever  ready  to  start  unbidden  from  the  depths  of 
consciousness,  ghosts  that  are  not  to  be  laid  by  any  after- 
exorcism  of  educational  device.  The  lesson  to  be  empha- 
sized is  the  strength  of  early  im2)ressions.  I  have  heard 
one  of  the  most  thoughtful  and  critical  of  our  American 
scholars  repeatedly  mispronounce  a  word  when  using  it  in 
argument  or  impassioned  address,  who,  when  asked,  would 
instantly  give  the  correct  pronunciation  of  that  word. 
This  gentleman,  whose  reputation  for  scholarship  in  Europe 
is  equal  to  his  reputation  in  his  own  country,  cannot  be  set 
down  as  nncultivated  or  ignorant.  He  is  not  ignorant;  the 
needed  education  in  this  particular  direction,  coming  too 
late  in  life,  failed  to  impress  the  mind  strongly  enough  to 


52  OKDEU    OP    EXERCTSES. 

liave  it  retain  tlie  impression,  'i'liis  is  ti  truth  which  a 
broiidly  educated  mind  can  grusi);  but  to  a  hirge  class  the 
sine  qua  nonoi  tlionaht  power  is  correct  pronunciation  and 
correct  grammatical  construction,,  and  tliough  you  speak 
*'with  the  tongues  of  angels."  and  are  guilty  of  one  of 
these  errors,  they  will  not  hear  you;  wisdom  abideth  only 
where  that  i)art  of  expression  which  is  wludly  arbitrary, 
and  a  thing  of  custom,  is  wliolly  correct.  T  re[)eut,  if  it  is 
a  sign  of  gross  ignorance  to  misspell  a  word,  or  to  mispro- 
nounce a  word  —  each  a  form  of  imitative  expression,  which, 
liaving  sunk  into  the  autoiuatic,  does  not  call  into  play  the 
reasoning  powers,  a  form  arbitrarily  fixed  by  custom  —  can 
I  not  logically  infer  that  where  articulation  is  defective, 
there  must  necessarily  be  gross  ignorance?  Is  not  articula- 
tion the  correlative  of  spelling  and  pronunciation,  in  that 
it  is  fixed  by  custom,  is  arbitrary,  and  does  not  call  for  the 
exercise  of  the  reasoning  faculty? 

At  our  national  meeting  last  summer  I  listened  in  vain 
among  our  educators,  at  least  among  those  that  I  was  ena- 
hlecl  to  hear,  for  some  reference  to  the  needs  of  our  schools 
in  this  direction,  but  it  remained  for  Mgr.  Capel  and  Prof. 
Bell,  the  one  an  Englishman,  the  other  a  Scotchman,  to 
bring  this  subject  before  American  educators. 

Repeat  the  vowel  i  (as  in  ill)  three  times,  watching  the 
mouth  carefully  to  see  that  the  cavity  remains  unchanged 
during  the  production  of  the  element.  This  last,  the 
fixedness  of  the  mold,  is  of  the  utmost  impoi'tance  in  the 
formation  of  a  beautifully  molded  vowel.  Go  back  to  the 
lesson  on  actonstics,  the  s1ia2)e  of  the  air  ivave  delerminex  the 
(jualitji;  this  shape  is  determined  by  the  uinon  of  the 
fundamental  and  harmouii^  vil>rations;  (^verv change  in  the 
cavities  anterior  to  the  vo(;al  chords  changes  the  condition 
of  the  sounding  bodies  (producing  the  (|uality),  and  there 
is,  therefore,  a  change  in  vibration  whicli  affects  the  shape 


NOTES.  53 


54  NOTES. 


IMPROVEMEXT   OF   THE    VOWEL   ELEMENT.  55 

of  the  air  wave,  and  is  lioard  in  a  cliangc  of  ((uality.  The 
fixedness  of  the  niokl  and  the  openness  of  the  cavity  give 
purity,  roundness  and  fullness  of  the  vowel  element.  This 
is  what  Dr.  Guilmette  aimed  at  in  his  practice,  and  it  can 
he  accomplished  in  a  very  short  time  witli  children,  if  no 
careless  practice  is  allowed. 

Practice  the  tables  slowly  and  distinctly  at  first;  avoid 
a  rapid  utterance  until  the  elements  can  be  surely  molded. 
To  break  up  a  very  common  fault,  not  by  any  means  con- 
fined to  children,  the  running  together  of  words —  "  lemme 
go,"  "I  sawim,"  "a  coasting  pilotee,"  "taker  car,"  let- 
teralone, 


etc. — use  the 

tables 

;  as 

follows: 

LIABLE  I. — 1-6 

i-u 

i-a 

i-6 

i-e 

i-u 

i-6 

i-a 

i-e 

i-a 

i-u 

i-6 

i-e 

i-a 

i-6 

i-ii 

i-6 

i-6 

i-u 

i-ii 

i-e 

i-6 

i-a 

i-u 

Place  the  accent  upon  the  second  vowel,  and  promptly 
articulate  the  two  elements. 


IMPEOVEMENT  OF  CONSONANT  ELEMENT. 


1.     Take   the   jiositions   for   the   consonants    in  table 
silently,  making  the  action  i:)ure]y  local. 

3.  Give  the  consonants  with  active  Avhisper. 

'■).     Give  the  consonants  with  vowels  explosively. 
Pa,  fa,  ta,  la,  ka. 
Peer,  feer,  teer,  leer,  keer. 
Pair,  fair,  taii\  lair,  kair. 
Poor,  foor,  toor,  loor,  koor. 
Pore,  fore,  tore,  lore,  kore. 

4.  Eepeat  the  consonants  b,  d,  g,  v,  twice. 

T).     Eepeat  each  forcibly  several  times  in  succession, 
vi%  gi,  di,  vi;  ve',  ge',  de',  ve'. 


56 


DR.   (lUILMETTE'S  CONSONANT  EXERCISES. 


Classificalio)!,  ami   Porinatatimi  of  the  Organic,  Lahial, 
Lintjaal  and  iMriimjeal  Ayticnlations. 

I. —  OR(iANIC  Laj'.ial  Artici'i.ations. 

Labial  Proper,  ---...         p p 

Semi- Labial, F F 

II. —  OkGANIC    LlNGl7AL   AllTlCULATlONS. 

Apex  of  the  Tongue  Straight,     T T  -  Hard. 

Apex  of  the  Tongue  Curved,        L L  -  Soft. 

Dorsum  of  the  Tongue  Arched,  K K-  Hard. 

Apex  of  the  Tongue  Straight,      R R  -  Hard  Vibratory. 

Apex  of  the  Tongue  Curved,        R R  -  Soft  A-^ibratory. 

III. —  Organic  Laryngeal  Articulations. 
B B        G G        D D        V V 

N.B. — 1.  The  principal  Laryngeal  sound  represented 
by  the  character  B  should,  for  the  purpose  of  enlarging 
the  chamber  of  the  Larnyx,  be  practiced  forcibly  several 
times  a  day,  regardless  of  the  grammatical  name  which 
designates  it  as  a  Consonant. 

2.  Prefix  the  articulation  of  eacli  of  the  above  Conso- 
nants to  the  closed  Organic  Vowel  /,  taking  care  to  keep 
passive  those  vocal  organs  whose  immediate  functioning  is 
not  required.  Let  the  mi)i(l  be  veiy  watcliful  over  the 
active  organ  and  none  other,  taking  care  to  retain  it  for  a 
second  or  more  in  its  position,  after  the  articulation  shall 
have  been  given. 

57 


58  ORDKR    OF    EXEROISES. 

3.  The  same  rule  should  be  .strictly  observed  in  the 
molding  of  the  Organic  Vowel  sounds.  Otherwise,  the 
slurring  and  drawling  of  the  vocal  element  will  be  the 
result,  and  a  miserably  defined  vowel  will  characterize 
the  performance  of  the  singer  or  speaker. 

EXERCISES  OX  THE  PEllMUTATIOXS  OF  THE  LABIALS, 
LIXGUALS   AND   LARYXGEALS. 

1. — The  T\\  ENTY-Forii  Permutations  of  the 
LiX(;uAi.s.  T  L  K  R. 

T  I.  K  n  T  K  L  K  T  R  L  K 

t  l  e  k  t  k  r  l  t  r  k  l 

k  r  t  l  r  k  t  l  l  k  t  r 

kelt  r  k  l  t  l  k  r  t 

l  t  k  r  k  ^j^  l  r  r  t  l  k 

l  t  r  k  k  t  r  l  r  t  k  l 

t:  r  t  k  k  l  t  r  r  l  t  k 

l  r  k  t  k  l  r  t  r  l  k  t^ 

3. — The  Twenty-four  Permutations  of  the  Labials, 
p  and  f,  with  the  t.arynceals,  b  anj)  (!. 

P  F  B  G  P  p.  F  (i  P  G  F  B 

P  F  G  B  P  B  G  F  P  G  B  F 

B  G  P  F  (;  li  1'  F  F  B  P  (; 

BGFP  G  B  F  P  F  B  (J  P 

FPBG  BPFG  GPFB 

FPGB  BPGF  GPBF 

F  G  P  B  ]i  F  P  G  G  F  P  B 

FGBP  BFGP  GFBP 


DR.    GUILMETTE's    CONSONANT   EXERCISES.  59 

3t — The   Twenty-four   Permutations   of  the   Prin- 
cipal Labial,  P,    with  the   Two  Principal  Lin- 

GUALS,  T  and  K,  and  THK  PRINCIPAL  LARYNGEAL,  V>. 

P  T  K  B  P  K  'V  B  P  n  T  K 

P  T  B  K  P  K  B  T  P  U  Iv  T 

K  B  P  T  B  K  P  T  T  K  P  B 

K  B  T  P  B  K  T  r  T  K  H  P 

T  P  K  B  K  P  '1^  B  B  P  ^J'  K 

T  P  B  K  K  P  B  T  B  P  K  T 

T  B  P  K  K  T  P  B  B  T  P  K 

T  B  K  P  K  T  B  P  B  T  K  P 


moldixCt  consonant  element. 


The  mechanism  of  speech  may  be  likened  to  an  air  gun, 
the  vowel  representing  the  bullet  or  carrying  power;  the 
consonant  the  comj)ressed  air,  or  the  in^pelling  force.  To 
bring  to  the  maximum  the  impelling  force,  a  prompt,  vig- 
orous action  of  the  organs  of  articulation  must  be  secured. 
The  chief  characteristic  of  a  consonant  is  its  obstructive- 
uess;  two  organs  of  articulation  come  in  contact,  prevent- 
ing the  free  passage  of  voice  or  breath,  the  air  in  the  cavi- 
ties back  of  the  obstruction  is  compressed,  and  its  escape 
produces  tluit  quality  of  sound  known  as  a  consonant. 
Strength  of  contact  and  (juickiiess  of  recoil  in  the  action 
of  the  organs  of  articulation  are  the  two  points  to  be  worked 
for.  Lazy  action  produces  that  sloppy  indistinctness  com- 
mon to  invalids,  persons  lacking  in  energy,  and  di-unkards 
whose  muscles  are  not  under  the  control  of  the  will.  Lack 
of  promptness  in  relinquishing  the  positions  assumed  while 
molding  the  consonant,  carried  to  the  extreme,  results  in 
stuttering;  in  a  less  pronounced  form,  in  an  over-pedantic 
distinctness,  a  common  affectation  among  teachers,  Avho 
wish  to  be  exceedingly-particular-and-to-have-every-word- 
correct.  This  should  be  guarded  against.  In  the  action 
of  the  body,  perfect  grace  is  only  attained  when  an  action 
is  performed  with  ease  as  well  as  with  precision.  A\' hen 
attention  is  called  to  the  process,  or  effort  in  any  way  is 
suggested,  it  is  tiresome  to  the  beholder  and  expensive  to 
the  individual.  The  over-energy  expeuded  in  one  process 
is  just  so  much  loss  of  power  in  another,  indeed,  the 
strongest  argument  in  favor  of  the  cultivation  of  grace  of 

60 


i<  OTES.  G  I 


62  NOTES. 


-MOLDING    CON'SON.VXT    KLKMKNT.  03 

body,  correct  use  of  voice  and  the  organs  of  speech  is,  that 
an  awkward  movement  means  an  nnduo  expenditure  of 
energy.  We  are  too  apt  to  view  these  mtitters  from  the 
aesthetic  standpoint  alone  —  excellent  as  an  accomplish- 
ment but  not  an  essential,  forgetting  that  that  which 
pertains  to  man's  two  principal  means  of  expression  must 
be,  of  necessity,  of  the  liighest  importance  and  thoroughly 
practical. 

Exercises  to  be  used  in  connection  with  vocal  chart  for 
improving  the  consonant  element: 

1.  Take  the  representative  consonants  p,  f,  t,  1,  k,  as- 
sume each  position  forcibly  and  silently  in  succession,  re- 
taining each  for  a  second  or  more,  then  suddenly  relinquish. 
Be  sure  that  this  action  is  purely  local,  and  that  there  is 
no  accompanying  action  of  the  diaphragm.  Tlie  natural 
tendency  is,  when  one  set  of  muscles  act  vigorously,  for  the 
other  muscles  to  follow  suit  and  vice  versa.  The  greatest 
degree  of  perfection  is  obtained  when  the  muscles  act  inde- 
pendently, or  collectively  at  will.  The  frequent  scraping 
of  the  throat  Avhen  speaking  loudly,  the  result  of  an  un- 
necessary contraction  of  the  throat,  and  the  inability  to 
be  heard  in  the  quiet  use  of  the  voice,  because  of  the  lack 
of  energy  in  producing  the  consonant,  will  emphasize  the 
benefit  to  be  derived  from  this  independent  action  on  the 
part  of  the  muscles. 

In  the  expression  of  grief,  sympathy,  tenderness  or 
despair,  emotions  which  relax  the  muscles  of  the  thorax, 
the  projection  of  the  tone  depends  largely  upon  the 
distinctness  and  vigor  with  which  the  organs  of  articu- 
lation perform  their  work.  It  is  safe  to  affirm  that  with 
clear  enunciation  and  the  ability  to  place  the  voice,  at  will, 
at  the  front  of  the  moirth,  the  problem  of  being  heard  in 
the  largest  hall  is  solved.  Be  very  careful  in  all  practice 
with  the  consonants  that  the  posterior  pillars  of  the  soft 


64  OKDER    OK    y.XKKrfSF.S. 

palate  are  not  coiitnicied.  In  all  practice  where  force  is 
required,  the  great  danger  lies  in  this  tendency  to  contract 
the  wrong  muscles,  a  tendeiun'  which  is  not  only  an  extrav- 
agant expenditure  of  force,  but  the  prolilic  source  of  two- 
thirds  of  the  ])ad  voices  in  America. 

2.  Give  the  consonants  (p,  f,  t,  1,  k)  with  active 
whisjjer.  Be  careful  in  this  exercise  to  leave  the  throat 
free.  Anv  scraping,  uncomfovtaljie  feeling  in  the  throat 
resulting  from  the  exercise  will  denote  contraction  of  ihe 
wrong  muscles,  and  is  to  be  avoided. 

Imagine  that  the  tone  is  produced  at  the  front  of  the 
mouth,  drop  the  head  lifelessly  fi-oni  side  to  side,  forwai'd 
and  back,  while  practicing  this  exercise. 

3.  Give  the  consonants  with  vowels  explosively: 

pa,  fa,  ta,  la,  ka. 
jieer,  feer,  teer,  leer,  keer. 
pair,  fair,  tair,  lair,  kair. 
poor,  foor,  toor,  loor,  koor 
pore,  fore,  tore,  lore,  kore. 

This  gives  practice  with  different  vowels,  some  of  which 
are  more  difficult  than  others  to  project,  owing  to  their 
tendency  to  slip  back  in  the  mouth, 

4.  Repeat  the  consonants  b,  d,  g,  v,  twice.  Use  care 
in  the  practice  of  this  exercise.  Do  not  give  with  regular- 
ity to  children  under  sixteen  years  of  age. 

It  will  be  understood  that  the  exercises  so  lar  given 
liave  been  for  tiie  purpose  of  improving  the  articulatory 
i:)rocess  alone. 

Articulation  refers  to  the  process  of  cutting  out  or 
molding  the  voice  into  separate  elements;  ])ronunciation 
is  the  combining  of  the  elements  iiifo  syllables  and  words; 
accentuation  is  tlio  discrimiiuition  of  one  or  more  syllables 
througii  a  variation   of  pitch.       The    first    two   processes 


MOl.DIJfG    CONSOXAXT   ELEMENT.  65 

come  under  the  head  of  quality,  the  third  under  that  of 
jiitch. 

Of  course,  teachers  will  understand  that  these  exercises 
are  to  be  given  only  where  they  are  needed  for  any  slovenly 
or  imperfect  action  of  the  organs  of  articulation.  Call  as 
little  attention  as  possible  to  a  child  having  these  defects, 
as  it  only  makes  him  more  self-conscious,  and  intensifies 
the  fault.  Give  him  a  good  model  and  rather  insj^ire  him 
to  do  what  you  can  do,  than  to  feel  that  he  needs  to  do  it. 
"I  can  do  this,  see  if  you  can,"  is  the  effective  argument 
of  the  play-ground  and  should  be  that  of  the  school-room, 
especially  Avith  youngest  children. 

Make  children  of  an  older  growth  as  wretched  and  con- 
scious as  you  please  of  a  defect,  if,  at  the  same  time,  you 
plainly  point  out  the  remedy;  but  with  young  children 
lead  them  to  do  that  Avhich  will  overcome  a  defect  without 
making  them  over-conscious  about  it. 


BELL'S  YOWEL  TABLE. 


1,    eel. 

14,  pool. 

2,  ill. 

13,  pull. 

3-1,  iilo. 

la-l*!  pole. 

4,  ell. 

11,  Paul. 

/ 

5,  shall. 

10,  on,  doll. 

6,  earl;  7,  ask;  8,  art;  9,  up. 

8-1,  isle;  8-14,  owl;  11-1^,  oil. 
y  14,  you. 


66 


NOTES.  07 


<i8  NOTES. 


ANALYSIS   OF   BELL'S   VOWEL  TABLE. 


Pupils  that  have  llexibility  of  the  musoles  used  in  mov- 
ing the  organs  of  speech,  and  whose  vowels  and  conso- 
nants are  well  formed,  will  not  need  the  preceding  exercises, 
which  are  curative  in  their  nature — remedies  for  which 
there  would  be  no  need  if  parents  and  teachers  did  their 
duty.  To  produce  voice,  and  laher  to  mold  voice,  is 
instinctive  with  the  child;  nature  takes  care  of  that,  and 
her  work  is  well  done;  but  in  the  combination  of  element- 
ary sounds  the  child  is  largely  dependent  upon  the  models 
by  which  he  is  surrounded.  What  wonder  that  in  our 
own  schools  we  have  imperfect  articulation  when  the  child 
is  never  addressed  by  the  family  except  in  that  mangled, 
inane  dialect  called  "baby  talk,"  and  has  for  a  further 
model  an  Irish,  French  or  Scotch  nurse;  as  if  this  were 
not  enough,  children  must  be  taught  English,  French  or 
German  simultaneously,  that  they  may  acquire  the  correct 
accent.  If  you  are  particular  about  the  enunciation  of 
your  children,  avoid  a  nurse  with  an  imperfect  use  of  the 
language.  Put  your  caresses  into  loving  tones  and  tender 
gestures,  but  restrain  the  "itty  tweety"  expressions  of  af- 
fection. Keep  the  child  fearless  and  unconscious,  culti- 
vate his  ear,  train  him  to  distinguish  sounds  as  readily  as 
he  does  colors;  encourage  him  in  a  free  use  of  the  organs 
of  speech  by  singing,  whistling,  imitating  sounds,  the 
bugle,  fife,  drum,  the  falling  of  the  rain  drops,  and  the 
whistling  of  the  wind,  and  he  will  find  little  or  no  diffi- 
culty in  acquiring  later  in  life  a  foreign  language. 

69 


70  ORDEK   OF   EXERCISES. 

This  vowel  table  was  given  by  Professor  Alexander 
Graham  Bell,  at  the  Boston  University  school  of  oratory,  and 
I  give  it  here  because  it  is  the  least  complicated  and  most  ac- 
curate of  the  many  tables  I  have  examined.  ^luch  time  and 
labor  will  be  saved  in  correcting  wrong  pronunciations,  if 
the  table  is  so  familiar  to  the  pupil  that  the  number  of  the 
vowel  will  always  recall  the  sound  whicli  it  represents. 
This  table  is  not  to  be  used  in  the  primary  grades,  but  for 
more  advanced  pupils. 

As  letters  of  the  alphabet  by  no  means  represent  the 
sounds  for  which  they  stand,  the  numbers  are  a  great  con- 
venience because  they  are  a  fixed  standard.  Have  the  fig- 
ure and  sound  thoroughly  associated,  then  if  the  pupil 
mispronounces  a  woi'd  (un  for  on)  you  have  but  to  say, 
"  You  gave  No.  9  for  No.  10,"  and  the  correction  is  defi- 
nitely luade. 

In  placing  this  table  uj)on  the  board,  it  will  be  well  to 
retain  the  same  arrangement  of  the  table,  because  it  is  sig- 
nificant of  the  functioning  of  the  vowels  themselves.  From 
one  to  five,  inclusive,  the  different  qualities  of  vowels  are 
produced  by  the  varying  depressions  of  the  tip  of  the  tongue 
together  with  the  smiling  position  of  the  lips;  from  four- 
teen to  ten,  inclusive,  by  varying  elevations  of  the  back  of 
the  tongue  together  with  the  rounded  position  of  the  lips; 
from  six  to  nine,  inclusive,  varying  depressions  from  tip 
through  center  to  the  back  of  the  tongue. 

The  diphthong  is  the  union  of  two  vowels  and  a  glide, 
the  first  vowel  representing  the  starting  point,  the  second, 
the  vowel  toward  which  the  sound  tends — its  vanishing 
point.  3-1  and  12-14  are  properly  diphthongs,  but  are 
classed  with  the  vowels  because  the  elements  3  and  12, 
while  they  are  vowels  projjer,-  and  would  be  so  classed 
in  a  table  of  French  elements,  are  un-English  when  not 
accompanied  by  glide  1  and  glide  l-l. 


ANALYSIS   OF    BELL's   VOWEL   TABLE.  71 

Vowel  ],  represented  by 

e — me,  peruse,  liero,  because,  detail. 

i — fatigue,  marine,  unique,  pique,  police,  machine, 
signer,  vis-a-vis. 

te — minutia\  j)a:'au. 
ae — aerie,  Aegean,  Aeneid,  aeolian. 
ay — quay. 

ee — bee,  peel,  tree,  queen,  seer,  teeth,  eel. 
e'e — e'en. 

ea — sea.  peace,  league,  eat,  peal, 
ei — either,  neither,  ceiling,  receipt, 
eo — people, 
ey— key. 
eye — keyed. 

ie — field,  shield,  frieze,  thief,  fiend, 
oe — antoeci,  oetites,  oedema,  amphisboena. 
uoi — turquoise. 
Vowel  2,  represented  by 

a — cabbage,  orange,  cottage,  village,  postage. 

e — pretty. 

i — spirit,  miracle,  film,  finger,  singer,  victuals. 

o — women. 

u — ^busy,  minute,  lettuce. 

y — hymn,  my  (unemphatic),  symbol,  abyss,  cygnet, 
ai — mountain,  certain,  captain. 
ay — Sunday,  Monday, 
ea — guinea, 
ee — breeches. 

ei — forfeit,  foreign,  surfeit,  sovereign. 
ey — monkey,  valley,  whiskey,  galley. 
ia — parliament,  carriage,  marriage. 

ie — sieve,  mischievous. 

oi — tortoise. 

ui — build,  quilt,  guilt,  guitar. 


72  ORDER   OF   EXERCISES. 

uy— plaguy. 
oi — chamois. 
Vowel  3,  represented  by 

a — age,  ale,  ache,  able,  gala,  aeriform, 
e — fete. 
ae — gael. 

ai — aim,  stain,  quaint,  grain,  hail,  arraign. 
ao — gaol, 
au — gauge, 
ay— say. 
aye — aye. 

ea — steak,  great,  yea. 
ei — vein,  weigh,  rein,  veil, 
ey — obey,  grey,  convey,  whey,  prey, 
eye — preyed. 
ue — bouquet. 
Vowel  4,  represented  by 

a — any,  many,  daring,  chary,  care. 
e — met,  ferret,  where,  legend,  rend,  employ. 
u — bury,  buried. 
aa — Aaron. 
ae — Michaelmas, 
ai — air,  said,  fair,  again, 
ay— prayer,  says. 
e'e — ne'er. 

ea — featlier,  head,  jealous,  read. 
ei — heir,  heifer,  heiress. 
eo — leopard,  jeopard, 
ey— eyre, 
ie — friend, 
ue — guess. 
Vowel  5,  represented  by 

a — amber,  waft,  finance,  patent,  sliall,  alternate. 
aa — Canaan. 


NOTES.  73 


74  NOTES. 


ANALYSIS    OF   BELL'S   VOWEL  TABLE.  75 

}ii — raillery,  plaid, 
ua — quadrille,  aquatic,  guarantee. 
Vowel  (5,  represented  by 
a — scholar. 

e — her,  err,  service,  alternate,  layer, 
ea — earl,  pearl,  earn,  earnest,  earth. 

i — tliird,  girl,  thirsty,  sir,  irksome,  twirl, 
ue — guerdon. 
o — visor,  word,  work,  worse,  worm, 
u — excursion,  further. 
y — myrrh,  myrtle,  martyr. 
Vowel  7,  represented  by 

a — vast,  staff,  grass,  past,  ask. 
Vowel  8,  represented  by 

a — ardor,  are,  balm,  alms,  arch,  malmsey,  carpet, 

startle,  can't,  arm,  calm,  farther, 
e — clei'k,  sergeant. 
aa — l)azaar. 
ah — sirrah, 
au — haunt,  aunt,  draught,  laugh,  laundry,  launch, 

gaunt, 
ea — hearty,  hearth,  hearken, 
ua — guardian,  qualm. 
Vowel  9,  represented  by 

o — done,  wont,  doth,  honey,  dove,  love,  won,  sou, 

tonnage,  govern,  seldom,  pomegranate, 
u — up,  ugly,  succumb,  column,  bluff,  sun,  nuptial, 

dust,  but,  mulch,  fulsome, 
eo — dungeon. 
eon — gorgeous. 
io — falchion,  exhibition,  collection, 
oe — -does, 
oi — porpoise. 
00 — blood. 


76  ORDER   OF    EXERCISES. 

ou — young,    toiigli,    grievous,    couple,    analogous, 

rough,  enough, 
ow — bellows,  giillows. 
iou — cautious,  luscious. 
Vowel  10,  represented  by 

a — want,  watch,  quantity,  Avhat,  wamj^um,  squat, 

"wassail,  twaddle,  wasji,  wash.  Avad. 
o — column,  on,  God,  extol,  doll,  oracle,  posthu- 
mous, not,  carrot,  scholar,   Detrotli,  horologe, 
Boston, 
ao — extraoi'dinary. 
au — cauliflower,  laurel. 
ach — yacht, 
eo — George. 
Vowel  11,  represented  by 

a — all,  ball,  also,  albeit,  walnut,   false,  falchion, 

water,  war,  Avaltz.  ward, 
o — former,  important,  importunate, 
au — Paul,  haul,  autumn,  jiause,  cause,  taught. 
aw — raw,  paw,  awful, 
ou — fonght,  sought,  bought,  nought. 
Diphthong  l'^-14,  represented  by 

o — pole,   old,  go,  mold,  bolt,  obey,  olio,  procure, 
piano,  yolk,  roll,  motto,  aualogv,  wiiolly,  ante- 
lope, holy,   cameo,   cocA^al,    colony,   elocution, 
oasis, orthoepy,  host,  knoll,extempore,psalmody. 
ao — Pharaoh, 
au — h  au  ten  r,  h  au  tboy . 
ew — sew. 

eau — beau,  roiuleau,  bureau, 
ew — sewed, 
eo — yeoman, 
oe — hoe. 
oh — oh. 


ANAI>Y.SIS    Of    i'.KLL's    \0\VKL    I'.VBJvE.  77 

oo — broocli. 

ou — soul,  furlough,  poultry,  niouki,  though,  dough, 

borough. 
(t\v — crow,  blow,  troAv,  low,   tow,   shadow,   mower, 

lower,  owe. 
owe — owe. 
Vowel  l■^,  represented  by 

o — wolf,  woman,  bosom. 

n — pull,  put,  butcher,  cuckoo,  jiush,  cushion,  puss, 
sugar,  fully,  pulpit, 
oo — book,  good,  woods,  foot,  stood,  wood.  avooI. 
ou — would,  could,  should. 
Vowel  14,  represented  by 
aou — caoutchouc, 
eux — ticdouloureux. 

o — to,  do,  who.  into,  tomb,  lose,  ])rove. 
iu — giust. 
oue — denouement. 

u — rule,  true,  rue,  ruby,  druid,  rliubarb,  sumach, 
ew — chew,  brew,  threw,  grew,  lewd,  shrewd, 
ewe — brewed, 
eu — rheumatism, 
oe — shoe,  canoe, 
oeu — manoeuvre. 
00 — woo.  bloom,  cuckoo,  poor,  gooseberry,  whoop, 

cool,  boot,  too,  sooth. 
ooe — wooed, 
ou — through,    rendezvous,   roue,    youthful,    croup, 

ragout,  you,  tour,  route,  group, 
ne — rue,  issue,  accrue,  true,  flue, 
ui — fruit,  recruit,  bruise,  juice,  sluice. 
Diphthong  8-14 
ao — giaour, 
ou — thou,   around,  found,   our,  vouchsafe,  founda- 


78  ORDER    OF    EXERCISES. 

tion,    eoucli,    cloud,    Ijounteous,    conntenance, 
fountain, 
ough — plough,  drought,  dough t3\ 

ow — cowl,  cow,  vowel,  avow,  bow,  how,  brow,  frown, 
growl,  crown. 
Diphthong  8-1.  represented  by 

i — idol,    idle,    idyl,    excite,    diameter,    vial,    iota, 
ivy,    viaduct,     science,     I'll,    blithe,    aspirant, 
saliva, 
y — by,  my,  sky,  papyrus,  scythe,   awry,  why,  lyre, 
cycle,  rhyme, 
ais — aisle, 
ay — bayou, 
aye — aye. 

eigh — height,  sleight,  heigh-ho. 
eye — eyeing, 
ic — indict, 
ie — lie,  die,  vie,  hie. 
is — isle, 
ig— sign, 
igh — high,  upright,  night,  blight, 
oi — choir, 
ui — guide,  guile, 
xiy— buy,  guy. 
ye — dye,  rye,  bye. 
Diphthong  11-1,  represented  by 
oe — obw. 

oi — coin,  oil,  moiety,  cloister,  hoist,  anoint,   joint- 
ure,   rhomboid,     embroider,    foible,    toilsome, 
avoid,  groin,  noiseless. 
oy — boy,  poignant,   envoy,   ])oyish,   loyalty,  oyster, 

alloy,  joy,  destroy,  toy,  coy. 
eoi — bourgeois. 


J^OTES.  79 


80 


JM  OTEH. 


ANALYSIS    OF    BELL's    VOWEL   TABLE.  81 

Y  14,  represented  by 

u — stupid,  volume,  use,  exuberant,  dupe,  duteous, 
impugn,  centuries,  literature,  nature,  impromp- 
tu, tutor,  future, 
eu — feud, 
ew — dew,  few,  new,  blew,  stew,  sewer,  renew,  news, 

gewgaw,  knew, 
ue — imbue,  virtue.  TiiL'sday,  avenue,  pursue,  ensue, 

blue, 
ui — suit,  puisne,  pursuit, 
uh — buhl. 

eu — neuter,  feud,  iDseudo. 
ewe — ewe. 

eau — beauty,  beauteous, 
iew — view, 
leu — adieu,  lieu, 
yew — yew. 
you — you. 
yu— yule. 


Correspondence  of  the  Lumbers  Used  to  Designate 

THE  Vowel  Sounds  of  Bell's  Yowel  Table 

WITH  ''  Key  to  Pronunciation  " 

Worcester's  Dictionary.* 


:i,  long,  fate,  aid,  lace,  pain,  player  =  3 — 1. 

a,  short,  fat,  man,  lad,  carry  =  5. 

a,  long  before  r,  fare,  bare,  pair,  bear  =  4. 

a,  Italian  or  grave,  far,  father,  farther,  calin  =  8. 

a,  intermediate       )  «    ,    i         i  « 

,    ,  -.1  fast,  branch,  grasp,  grass  ==  7. 

between  a  and  ii)  ^  o      i    o 

a,  broad,  fall,  haul,  walk,  wrirm  =  ll. 

a,  slight  or  obscure,  liar,  palace,  courage,  abbacy  =. — ob- 
scure, f 

e,  long,  mete,  seal,  fear,  keep=  1. 

g,  short,  met,  men,  sell,  ferry  =4. 

e,  like  a,  heir,  there,  where  =  4. 

e,  short  and  obtuse,  her,  herd,  fern,  fervid  =  6. 

B,  slight  and  obscure,  brier,  fuel,  college,  celery  =. — ob- 
scure, f 

I,  long,  pine,  file,  find,  mild,  fire  =  8 — 1. 

I,  short,  pin,  fill,  miss,  mirror  =  2. 

i,  like  long  6,  mien,  machine,  police,  marine  ==1. 

1,  short  and  obtuse,  sir,  fir,  bird,  virtue  =  G. 

i,  slight  or  obscure,  elixir,  ruin,  respite,  ability  =. —  ob- 
scure, f 


*T  was  oblig:o(l  to  omit  certain  diacritical  marks  as  tVie  printer  could  not 
procure  tliem.    The  read(>r  Avill  please  copy  marks  from  dictionary. 

tObscure;  short  sound,  or  long  shortened   in   pronouncing-  an  unac- 
cented syllable. 

82 


bell's  Towr:i,  tm!Li:.  83 

5.  long.  note,    roal,    to\vl.  =  12  — 14:    sOre  = 

12  — r. 

6,  short.  not,  dun,  odd,  borrow  =  10. 
o,  long  and  close,      move,  prove,  food,  soon  =  14. 
o,  broad,  like  broad  a,  nor,  form,  sort,  ought  =  11. 
o,  like  short  v1,  son,  done,  come,  money  =  9. 

o,  slight  or  obscure  (actor,   okt  G  —  r)  confess,    felony, 

purpose  =  10.  f 

n,  long,  tnbe,  tune,  snit,  fame,  ptjre  =  y  14. 

u,  short,  tub,  tun,  hut,  hurry  =0. 

u,  middle  or  obtuse,  bCdl,  pull,  ffdl,  bush,  pfish  =  13. 

ii,  short  and  obtuse,  fur,  murmur,  hiirt,  fiii'ther  =  6. 

u,  long  and  close,  I  i      i      <-     +  -,  < 

,.,    °^  .         ^        y  rule,  rude,  brute,  truce  =  14. 
like  o  in  move,  ) 

u,  slight  or  obscure  (sulphur,    s  9  1  f  0  —  r)    famous  ==9. 

(Deputy  =  d  4  p  y  14  t  2). 

y,  long  type,  style,  lyre  =8  —  1. 

y,  slioi't,  sylvan,  symbol,  crystal  =  2. 

y,  short  and  obtuse,  myrrh,  myrtle  =  6. 

y,  slight  or  obscure,  truly,  envy  =  2.  (Martyr=m  8-t  6-r.) 

(ii  and  oy,  boil,  foil,  boy,  toy  ^11  —  1. 

ou  and  6w,  b5und,  town,  now  =  8  — 14. 

ew,  like  long  n,  few,  new,  new==y  14. 

CONSONANTS. 

9,  soft,  like  s  a9id,  placid,  illicit  =  s. 

c,  hard,  like  k,  flaccid,  sceptic  =  k. 

ch,  hard,  like  k,  character,  chasm      k. 

9h,  soft,  like  sh,  9haise,  9hevalier=sh. 

cli  (unmarked),  like  tsh,  charm,  church  ==t,  sh. 

g,  hard,  Get,  Give,  Gift  =  g. 

g,  soft,  like  j,  gender,  giant  =  d,  zh. 


84 


ORDER    OF    EXERCISES. 


s,  soft,  like  z,  muse,  choose,  dismal  =  z. 

X,  soft  or  flat,  likegz,  example,  exist  =  gz. 

th,  soft,  flat  or  vocal  —  this,  thee,  then,  breathe  =th', 

th  (unmarked),  sharp  —  thin,  think,  pith,  breath  =th" 

j  tign  )  ...       .  (  nation  and  notion      /         , 

•J    .       Mike  shun,     j  .  -,      .    .       -=sh. 

(  siyn  )  (  pension  and  mission  ' 

confusign,  vision  =zli. 

j  ocean,  testacean 

i  optician,  logician 

commercial         \ 

controversial      >■  =  sh. 

partial,  martial  ) 

[  farinaceous 


sign,  like  zhun, 

jcean) 

1    .       h  like  shan, 

(  Clan  ) 


sh. 


like  shal. 


like  shus. 


sh. 


->  capacioiis 
(  sententious  J 
(courageous)       ^^^j^^ 
(  religious      ) 
qu  (unmarked),  like  kw,  queen,  quill  =k,  w 
wh  (unmarked),  like  hw,  when,  while  =  wli. 
ph  (unmarked),  like  f,  phantom,  seraph  =f. 


t  like  jus. 


USE   OF  BELL'S  TO  WE  I.  TABLE  WITH  WEB- 
STEK'S    DICTIONARY. 


a,  long.  Jis  in 
:T,  short,  as  in 
e,  long,  as  in 
e,  short,  as  in 
7,  long,  as  in 
T,  short,  as  in 

G,  long,  as  in 
o,  short,  as  in 
n,  long,  as  in 
II,  short,  as  in 
y,  long,  as  in 
y,  short,  as  in 


ale,  filto,  chilmber,  gray  ==3  —  1. 
add,  fiit,  have,  random  ==  5. 
eve,  meat,  peace,  seizure  =  1. 
end,  met,  check,  leopard  =  4. 
ice,  fine,  mire,  thrive  =  8  —  1. 
ill,  fin,  admit,  tribute  =  2. 

("1(1,  note,  Inaf,  depose  =  12  — 14, 
odd,  not,  t(jrrid,  resolve  =  10. 
fise,  tube,  lute,  feridul  =  yl4. 
us,  tdb,  biit.  study  =11. 
Hy,  style,  sky,  edify  =  8 — 1. 
cyst,  nymph,  lyric,  abyss  =  2. 


OCCASIOXAJ.   SOUNJ)S.       I. 

a,,  as  in  air,  share,  pair,  bear  =  4. 

3,  Italian,  as  in         iirrn,  father,  far,  piilm  =  8. 
a,  as  in  ask,  grass,  dance,  branch  ==. 

a,  broad,  as  in  all,  talk,  haul,  swarm  =  11. 

a,  like  short  o,  as  in  what,  wander,  wallow  =10. 

e,  like  a,  as  in  ere,  there,  heir,  wh(^'ie  =  4. 

e,  like  long  a,  as  in  eight,  prey,  obey==o — 1. 
?,  as  in  ermine,  verge,  prefPr^  6. 

y,  like  long  e,  as  in    pi(|ue.  machine,  i)orice^  I. 
1,  like  6,  as  in  irksome,  virgin,  thirsty  =  (j, 

6,  like  short  u,  as  in  (Sther.  (hnu;,  S(')n,  w<')n  =  9. 
Q,  like  long  00,  as  in  pn)ve.  <ii>,  UK.ne,  t()mb  =14, 

85 


80  ORDER    OF    EXERCISES. 

o,  like  short  oo,  as  in  bosom,  wylf,  woman  =  13. 
o,  like  broad  a,  as  in  order,  form,  stork  ==  11. 
50,  as  in  moon,  food,  booty  ^  14. 

Oo,  as  in  wool,  foot,  good  =  13. 

OCCASIOXAL   SOUXDS.      2. 

u,  preceded  by  r,  as  in  rude,  nxmor,  rural  =  14. 
1.1,  like  short  oo,  as  in  bull,  i)ut,  push,  jjull  =  13. 
u,  as  in  ni'ge,  burn,  furl,  conciir  =  G. 

e,  i,  0  (Italic)   mark    a  letter    as  silent.      Fallen,  token, 
cousm,  mason. 

REGULAR    DIPHTHOXGAL    SOUNDS. 

oi,  or  oy  (unmarked),  as  in  oil.  join,  moist,  oyster,  toy^ 

11—1. 
on,  or  ow   (unmarked),   as  in  out,   hound,   owl,   vowel  = 

8—14. 

CONSOIvrANTS. 

9,  soft,  like  s  sharp,  as  in  yede,  ^ite,  mergy,  ac9ept  =  s. 
+•,  hard,  like  k,  as  in  f-all,  -t-on-pur,  sut;cess  ==  k. 

ch,  (unmarked)  as  in  child,  much,  touching  ^t,  sh. 

yl),   soft,  like  sh,  as  in  yhaise,  marghioness,   maghine  = 

sh. 
fh,  hard,  like  k,  as  in        <^'horus,  epofh,  disti€h==k. 
i^,  hard,  as  in  get,  tiger,  begin,  foggy  ==g. 

g,  soft,  like  j,  as  in  gem,    engine,  elegy,   suggest  ==• 

d,  zh. 
s,  sharp  (unmarked),  as  in  same,  yes,  dense,  rest  =  s. 
s,  soft,  or  vocal,  likez,  as  in  has,  amu§e,  prison,  reside  =  z, 
til,  sharp  (unmarked),  as  in  thing,  breath,  sympatiiy  =  th". 
til,  flat  or  vocal,  as  in         thine,  sinnoth,  wither ^th'. 
iig  (unmarked),  as  in         '"^""g,  singer,  single  =  ng. 
n,  as  in  linger,  link,  uncle  =  U. 


NOTES.  87 


yS  NOTES. 


bell's  vowel  table.  89 

$,  like  gz,  as  in  c$.ist,  c:^tiin})le,  :iu$ili!iiT  ==gz. 

ph,  like  f  (unmarked),  as  in  phantom,  sylph,  philosophy  =  f. 
Qu,  like  kw  (unmarked),  as  in  queen,  conquest,  inquiry  = 

k\v. 
wh,  like  hw  (unmarked),  as  in  what,  when,  while  =  wh. 


GENERAL  VOWEL  RULES. 


An  elision  lengthens  the  vowel  frequently.  Examples: 
(.'tiniiot,  ]\Siit;  will  not,  wl'i-14nt. 

A\'e  generally  go  from  clo.se  to  open  in  si)eech.  A\'e  are 
so  rclnctiint  to  give  a  vowel  withont  a  preceding  consonant 
sound,  that  "we  are  ai)t  to  give  instead  of  the  jn-eceding 
omitted  consonant  ."ouud  a  stroke  of  the  glottis,  which  in 
some  langnages  is  a  reguUir  consonant. 

VOWEL   8. 

An  followed  by  n  and  another  consonant  has  the  sound 
of  8.     Exaynple-s:   Aunt,  launch,  laundry. 

VOWEL  11. 

It  belongs  to  the  back  round  scale,  so  called  because 
the  back  of  the  tongue  is  used  and  lips  rounded  from  10  to 
11  inclusive;  as  j^ou  come  down  the  scale  from  14  to  10  the 
lips  are  less  and  less  rounded. 

The  quality  of  all  these  vowels  will  be  more  or  less 
marred  by  improi)er  rounding  of  the  lips. 

Aw  and  an  are  always  vowel  1 1. 

All  is  generally  11.     Exaqotions :  Shall,  mall. 

Some  words  now  spelled  with  one  1,  but  formerly  having 
had  two,  still  hold  the  same  pronunciation.  Examples: 
Although,  altogether,  already,  etc. 

Or  has  frequently  vowel  sounds  of  11,  when  r  is  in  the 
same  phonetic  syllable.     ExviptioiDi :  Fort,  port,  etc. 

Or  at  the  end  of  a  word  is  G-r.  Example:  Actor,  5kt- 
G-r;     Creator,    kr3-ltC-r.      Sometimes    Al,    followed    by 

90 


GENERAL    VOWEL    RULES.  91 

another  consonant  equals  11.  Examples:  Salt,  halt,  bald, 
waltz. 

The  fault  in  vowel  11  is  that  people  generally  give  10. 

A  in  Al  followed  by  another  consonant  is  11.  Exam- 
ple: Alter,  palter.     Exception: 

5  5  5  5 

Alternate,  Defalcate,  Altercation,  Balsamic. 

VOWEL    13, 

Vowel  13  is  almost  14;  the  difference  being,  13  is 
always  short  and  14  is  always  long. 

Butcher,  bosom,  woman  —  vowel  13, 

VOWEL  14. 
Vowel  12-14  commonly  called  long  o. 

It  is  almost  a  universal  fault  in  America  in  words  con- 
taining 12-14  to  omit  the  glide  and  use  only  12.  Examples 
of  words  where  12  is  given  instead  of  12-14:  Throat,  coat, 
boat,  bolt,  soa|i,  boast,  toast,  smoke,  whole,  wholly,  coax, 
poker. 

When  long  o  is  immediately  followed  by  r  in  the  same 
phonetic  syllable,  omit  the  glide  14,  give  only  12.  Ex- 
ample: yore,  yl2r,  more,  ml2r,  sore,  sl2r. 

As  a  rule  we  expect  vowel  oo  to  be  vowel  14  in  English. 
There  are  the  following  exceptions  to  above  rule: 

Exception  1.     Stood,  wood,  good,  wool,  hood,  foot  — 13. 

ExceiMon  2.     Blood,  flood  —  vowel  0. 

Exception?).     Door,  floor,  brooch  — 12-14. 

After  a  consonant,  14  is  commonly  given  instead  of 
yl4,  but  it  is  decidedly  wrong  except  in  the  following  in- 
stances: 

Exception  1.  After  r  in  the  same  syllable,  omit  y  and 
sound  only  14.     Examples:   rule,  rl41;  rude,  rl4d. 

Exception   2.     Immediately   following  1,  in  the  same 


92  OKDEB   OF   EXERCISES. 

syllable,  omit  y,  sound  only  14.  Example:  Lunatic,  114- 
n3-lt2k:  Lucy,  Ll4s5>. 

Exce23tion  to  the  above  rule:    lute,  lyl-it. 

Excejitioii  3.  After  j,  which  equals  dzh,  omit  y,  sound 
only  vowel  14.     Example:  June,  Dzhl4n;  Jew,  Dzhl4. 

Exception  4.  After  sound  of  sh  or  zh  omit  tlie  y. 
Sound  only  vowel  14.  Examples:  Sure,  slil4-r,  azure, 
3-lzhl4-r. 

FIXAL   E. 

Rule.  Final  e  is  generally  silent  in  English. 

Examples:  Unite,  combine,  recline. 

Exceptions:  Apostrophe,  catastrophe,  extempore, 
epitome. 

Though  silent,  final  e  is  not  useless,  but  has  the  follow- 
ing effects. 

1.  Final  mute  e  lengthens  the  preceding  vowel  in  mon- 
osyllables when  preceded  by  one  consonant.  Examples: 
wag,  Avage;  rag,  rage;  gag,  gage;  rat,  rate;  mat,  mate. 

2.  Final  mute  e  immediately  following  g  changes  its 
sound  to  dzh  known  as  j.  Examples:  wag,  wage;  sag, 
sage;  gag,  gage. 

3.  Final  mute  e  immediately  following  th'  changes  it 
to  til'.     Examp)lcs:  Cloth,  clothe;  bath,  bathe. 

We  exj^ect  e  before  final  u  to  be  silent.     Europe. 

4.  E  before  final  1  is  pronounced.     Exceptions: 
drivel,  mantel,        shekel,         snivel,        'ravel. 
grovel,  navel,  shovel,         weasel, 

hazel,  ousel,  shrivel,        rivel, 

5.  E  before  final  n  is  silent. 

The  following  is  a  list  of  exceptions  to  above  rule: 

abdomen,  marten,  omen,  liyphen, 

acumen,  mitten,  patten.  kitchen, 

aspen,  mynchen,        platen.  latten. 


f^EXEUAL    VOWEL    IlLLES. 


9;} 


bitumen, 

legiimen, 

women, 

linen, 

sudden. 


cntechuiiu'ii,  [)o]len, 
eerunu'n.        regimen, 


chicken, 

fliimen, 

tickeii. 


linen, 

hymen, 

woolen. 


seven, 

sloven, 

specimen, 

sudden, 

siren. 


ARTICLES    A,    AX    A XI)   THE. 

If  we  wish  to  use  the  article  an  before  a  word  begin- 
ning with  h,  it  must  be  accented  on  the  second  syllable. 

Example.     An  historical  work;  a  history. 

An  is  also  used  before  words  beginning  with  a  vowel. 

A  is  used  before  words  beginning  with  consonant 
sounds. 

The'  before  a  vowel. 

The"  before  a  consonant. 

A^  usually. 

A^^  when  very  emphatic. 


BELL'S    COXSOXAXT    TABLE. 


Breath. 

Voice 

Nasal   Voice 

P. 

b, 

ra. 

Lips.     - 

f. 

1^ 

V. 

't. 

d. 

n. 

s. 

z. 

Point  of  tongue.  < 

th^ 

sh. 

th^ 
r'. 
P. 
zh. 

Top  of   tons^ne.   - 

y^ 

y'- 

Back  of  tongue.  < 

k. 

glide  r.  (-r) 

Consonant  Combinations. 

J  or  soft  g 

=d, 

zh. 

Long  11 

=yl4 

L 

Ch 

=  t,  , 

h;sb 

k. 

Qu 

=  kw 

PI. 

=f. 

'^■ 

r 
S. 

X  = 

.?z. 

C=^ 

k. 

ksh. 

z. 

ks. 

sh. 

94 


KOTES.  95 


rjQ  NOT£&. 


ANALYSIS  OP  CONSONANT  ELEMENT. 


Breath  Coj^sostants. 

P  represented  by 

p — paper,  lip,  prop,  pipe, 
pe — snipe,  ripe,  dupe,  stripe, 
pp — appear,  opposite,  apple, 
gh — hiccongli. 

pli — diphthong,  naphtha,  triphthong. 
Wh  represented  by 

wh — when,  why,  wheel,  whip,  whoa. 
F  represented  by 

f — fail,  fife,  few,  raft,  fool,  refute,  whereof,  fight, 
fe — knife,  rife,  life, 
if — snuff,  off,  stuff,  cuff,  offer, 
ph — monograph,  johotograph,  phalanx,  cipher, 
pph — sapphire. 
If— half,  calf, 
gh — laugh,  rough,  enough. 
T  represented  by 

t — hot,  sat,  time,  take,  trust,  tit,  tat. 
te — hate,  state,  mute,  route,  Kate, 
ed — marked,  stopped,  strapped. 
tt — mutter,  stutter,  butter,  latter, 
ct — indict,  victuals. 
ght — might,  wight,  taught,  bought,  eight, 
pt — receipt,  redemption, 
th — thyme, 
bt — debt,  subtle. 

97 


98  uRDEK   OF   EXEECISliS. 

S  represented  by 

s — sissy,  sick,  silly,  sally,  save. 
sc — science,  sciolic. 
sch — schism, 
ps — psalm,  psycliology. 
ss — less,  mess,  kiss,  liiss. 
z — waltz,  quartz,  chintz, 
sth — isthmus, 
sw — sword. 
Th^  represented  by 

th — thin,  think,  path,   moth,  oath,   cloth,  mouth, 
herewith. 
E^  represented  by 

r — prayer,  fray,  try,  stray,  shred,  through,  thread, 
shrink,  cry. 
L^  represented  by 

1 — clear,  please,   fly,  fling,  flute,  sly,  slave,  clove, 
frill, 
tie — kettle,  little,  mettle,  castle,  subtle, 
ual — victuals. 
Sh,  represented  by 

sh — shrink,  shore,  push,  shall, 
su — sure,  sugar,  insure,  sumac, 
ceo — farinaceous, 
chs — fuchsia, 
sch — schist. 
ci — social,  associate. 
c — oceanic,  ocean. 

ti — friction,  portion,  sentient,  ratio,  gentian. 
si — pension,  passion,  aversion. 
ch — machine,  chaperon,  chagrin. 
Y^,  represented  by 

i — Christian. 


ANALYSIS    OF    CONSONANt    ELKMKXT.  99 

and  in  connection  v/itli  vowel  14,  by 

u — stupid,  tune,  literature,  nature,  ilute,  fugue, 
eo — feodal. 
ew — flew. 

ue — ensue,  Tuesday. 
ui — suit,  pursuit, 
eu — feud,  pseudo. 
yu — yule. 
K,  represented  by 

c — care,  cat,  cake,  licorice,  candid, 
q — liquid,  liquor, 
cli — cliord.  Christian,  chrome,  drachma, 
ck — thick,  stick,  kick,  j^ick,  lackey, 
ke — lake,  stake,  rake,  stroke,  Luke. 
Ik— walk,  talk,  folk,  balk, 
qu — quay,  coquette,  etiquette, 
que — casque,  pique,  unique, 
cell — Bacchus,  bacchante, 
cq — lacquer. 
H,  represented  by 

ha — hard,  had,  hate, 
he — hen,  held,  hero, 
hei — height. 
hi — hive,  annihilate. 
ho — home,  holy,  horn,  horrid, 
hu — hum,  huge,  hug,  hurt, 
hai — hail,  hair, 
ban — exhaust,  haul. 

Voice  Coxsoxants. 
B,  illustrated  by 

b — back,  bib,  sob,  bob,  disturb, 
be — robe,  lobe,  cube,  babe, 
pb — cupboard, 
bb — ebb,  rabble,  stubble,  bubble. 


100  ORDKK    OP    EXEKClSES. 

W,  represented  b}' 

Av — wen,  weeji,  Avear,  witch,  weal, 
o — one,  once, 
u — snite,  queen,  quick. 
V,  represented  by 

V — vivid,  vail,  vim. 
ve — valve,  hive,  cove,  solve,  evolve, 
ph — nephew,  Stephen, 
f— of. 
D,  represented  by 

d — do,  done,  deal,  din,  den,  end,  mud,  bind,  raid. 
Id — would,  could,  should, 
de — fade,  tide,  bide,  lade,  rode, 
dd — add,  odd,  noddle,  addle,  fiddle. 
Z,  represented  by 

z — zero,  zion,  zone,  zebra. 

s — was,  is,  does,  busy,  knows,  tries,  goods,  rugs, 
se — amuse,  noise,  rouse. 
sp — raspberry. 
cz — czar,  czarina. 
X — Xerxes,  Xenophon. 
ti — transition. 
ce — sacrifice,  suffice, 
st — mistletoe. 
Th',  represented  by 

th — then,  this,  that,  thither,  therefore,  than,  the, 

thus,  they,  those, 
the — clothe,  breathe,  lathe,  swathe,  bathe. 
R',  represented  by 

r — rub,  rat,  bright,  ran,  rear,  roar,  bring,  drab, 
rh — rhythm,  rhetoric,  rheumatic. 
wr — wreak,  wrack,  wrist,  wreath,  wren, 
rr — merrier,  terrier,  barrier. 


ANALYSIS    OF   CONSONANT   ELEMENT.  101 

Glide  r,  represented  by 

r — fear,   fare,  earl,    far,    for,    fore,    poor,  erring, 
glory,  Mary,  her. 
L',  represented  by 

1 — let,  Lucy,  peal,  light,  Lear,  link,  lost, 
le — mile,  hole,  tile,  smile, 
gl — intaglio,  seraglio. 
In — kiln. 

11 — stall,  call,  mull,  doll, 
die — addle,  saddle, 
sle — isle,  aisle. 
ual — victuals. 
Zh,  represented  by 

s — pleasure,  measure,  treasure, 
z — azure,  seizure, 
ge — rouge, 
zi — brazier,  glazier, 
si — adhesion,  fusion,  illusion,  osier. 
Y',  represented  by 

y — ye,  yet,  yeast,  yellow,  your,  yolk, 
i — Spaniard,   Indian,    minion,    poniard,   intaglio, 

brilliant,  million,  onion, 
j — hallelujah. 
G,  represented  by 

g— gay,  leg,  stag,  grave,  go. 
gh — ghostly,  ghoul,  aghast, 
gue — rogue,  fugue,  brogue,  vogue,  vague, 
gu — guide,  guard,  guerdon,  guild,  guest. 
gg—egg,  aggravate,  buggy,  ragged. 

Nasal  Voice. 
M  represented  by 

m — Max,  mate,  many,  form,  clam,  aim,  more, 
mm — gammon,  Emma,  immense, 
gm — phlegm,  diaphragm,  apothegm. 


102  ORDER    OF    EXERCISES. 

mn — hymn,  autumn,  solemn,  damn, 
mb — lamb,  jamb,  bomb. 
Im — salmon,  alms,  calm. 
dim — drachm. 
N  represented  by 

n — not,  nice,  no,  loin,  thin,  loon,  neat, 
mp — accomptant.  comptroller, 
nn — Hannah,  Finn,  Lynn,  funny, 
kn — knack,  knead,  knee,  knife,  knot,  knuckle, 
gn — sign,  gnome,   gnaw,  gnat,   gneiss,  gnu,   reign, 

campaign. 
ten — hasten,  often,  soften. 
en — seven,  eleven,  heaven,  driven, 
in — cousin,  raisin,  basin, 
on — reason,  season,  bacon,  reckon,  beckon, 
hn — John, 
dn — Wednesday. 

mn — mnemonic,  mnemosyne,  mnemotechny. 
nd — handsome. 
Ng  represented  by 

n — frank,  tank,  drink,  think,  sink,  precinct, 
ng — angry,  calling,  singing,  bang,  hang,  tongs, 
nd — handkerchief, 
ngue — tongue. 


iiOTES.  103 


104  JSOTES. 


ORGANS  OF  ARTICULATION. 


The  organs  of  articulation  are  the  lower  jaw,  lips, 
tongue,  cheeks,  hard  palate,  soft  palate  and  nose. 

In  treating  of  articulation,  we  speak  of  the  tongue  as 
divided  into  three  sections,  the  front,  the  top  and  the  back 
of  the  tongue;  and  of  the  roof  of  the  mouth  us  divided 
into  upper  gum,  spring  of  palate,  hard  palate  and  soft 
palate. 

By  the  front  of  the  tongue  we  mean  the  rounded  end 
which  fits  exactly  into  the  curve  of  the  upper  teeth  in 
sounding  t  or  d.  The  top  of  the  tongue  includes  the  front 
and  middle  upper  surface. 

By  the  spring  of  the  palate  we  mean  the  arch  of  the 
roof  of  the  mouth,  just  back  of  the  upper  gum.  The  hard 
palate  extends  as  far  back  as  the  soft  or  fleshy  part,  which 
we  call  the  soft  palate;  the  little  drop  or  curtain  Avhich 
can  be  seen  at  the  back  of  the  mouth,  and  which  forms 
the  end  of  the  soft  palate,  is  the  uvula. 

In  the  articulation  of  an  element,  there  is  always  an 
active  and  a  passive  organ  involved. 

The  active  organs  of  articulation  are  the  lower  jaw, 
lips,  tongue,  cheeks. 

The  passive  organs  of  articulation  are  the  hard  palate, 
soft  palate  and  nose. 


105 


FOEMATION  OF  ENGLISH  CONSONANTS. 


All  consonant  sounds  are  more  or  less  obstructive; 
tliose  in  which  the  sound  is  modified  by  the  action  of  the 
lips  are  p,  b,  m,  w,  wh,  f  and  v. 

In  p,  b  and  m  the  obstruction  at  the  lij^s  is  complete; 
in  ])  and  b  the  lips  are  closed  firmly,  and  parted  suddenly 
by  a  puff  of  breath;  in  m  the  current  of  vocalized  breath 
passes  through  the  nose. 

^Y  and  wh  are  the  only  English  consonants  in  which 
the  lips  are  rounded;  the  obstruction  is  not  complete,  but 
the  opening  is  so  small  that  there  is  a  sound  of  friction. 

In  f  and  v  the  middle  of  the  under  lip  touches  the 
upper  teeth,  and  the  breath  passes  out  at  the  sides. 

The  consonant  sounds  in  which  the  sound  is  modified 
by  the  point  of  the  tongue  are  t,  d,  n,  th^  th^  P,  P,  r^,  r\ 
s  and  z. 

In  t,  d  and  n  the  point  of  tongue  fits  exactly  against 
upper  gum,  the  closure  being  comijlete;  in  n  the  voice 
goes  through  the  nose. 

In  th  the  point  of  the  tongue  comes  forward  between 
the  slightly  separated  teeth;  in  the  breath  element,  tlr,  it 
is  flattened  a  little  more  than  in  th^ 

In  s  and  z  the  point  of  tongue  is  raised  toward  the 
upper  gum  without  touching  it;  this  position  is  also 
slightly  modified  by  top  of  tongue.  In  a  thick  or  lisping  s 
the  point  of  tongue  is  too  far  forward  between  the  teeth; 
in  a  shrill  or  whistling  s,  it  is  carried  too  far  back. 

In  consonant  r,  the  point  of  the  tongue  curls  back 
nearly  to  the  spring  of  the  palate;  in  glide  r  it  is  only 

lOti 


FORMATION    OF    ENGLISH    CONSONANTS.  107 

slightl}-  raised.     To  make  glide  r,  start  from  vowel  G  and 
curl  the  point  of  tongue  ver}'  slightly  back  from  that  point. 

In  1,  the  point  of  the  tongue  is  placed  against  the  upper 
gum,  but  the  obstruction  is  not  complete;  the  breath  flows 
over  the  sides  of  the  tongue. 

In  sh  and  zh  the  top  of.  the  tongue  is  near  the  hard  pal- 
ate, position  slightly  modified  by  point  of  tongue,  teeth 
nearly  shut. 

In  y,  the  tongue  is  raised  from  the  position  of  vowel  e, 
the  obstruction  being  not  complete,  but  enough  to  produce 
friction. 

This  diiference,  as  Avell  as  tlie  difference  between  vowel 
14  and  consonant  w,  illustrates  the  distinction  between 
vowels  and  consonants — it  is  a  difference  in  space,  making 
the  second  obstructive  Avhile  the  first  is  non-obstructive. 
Vowel  1  and  consonant  y  are  an  excellent  example  as  well 
of  the  fact  that  in  nature  such  a  thing  as  a  strict  classifica- 
tio7i  does  not  exist. 

In  k,  g  and  ng  the  back  of  the  tongue  is  against  the 
soft  palate,  making  a  complete  obstruction;  in  ng  the 
current  of  breath  passes  through  the  nose. 

B. 

B  in  the  combination  mb  is  almost  universally  silent. 
Exceptions:  succumb,  rhomb. 

C. 

C  has  no  fixed  sound  in  English;  it  equals  s,  k,  sh  or  z. 
Examples:  c=k,  candy,  clandestine;  c=s,  century,  cer- 
tain, cinder;  c=sh,  social,  ocean,  farinaceous,  associate; 
c=z  in  sacrifice. 

C  before  e,  i  or  y=s;  in  other  cases,  usually/  k. 
D. 

D  in  final  ed  often  equals  T.  Examples:  Asked, 
passed. 


108 


OKDEB   OF    EXERCISES. 


F  is  phonetic  f  except  in  of.  where  it  has  the  sound  of 
v;  but  when  of  forms  the  last  syllable  of  a  compound  word, 
f  retains  its  own  sound.     Examples:  Avhcreof ,  thereof. 

(J. 

As  a  general  rule  in  Fnglish,  g  before  e,  i  and  y  has 
the  sound  of  j  or  dzh.     Uxamplcs:     ginger,  genius,  gyve. 

The  following  is  a  list  of  exceptions  to  above  rule: 
auger,  shagged,  giggle,  snaggy, 

cragged.  snagged,  giggler,  spriggy, 


dagger, 

dogged, 

eager, 

finger, 

gear, 

gearing, 

geese, 

gild, 

gilding, 

gelt, 

get, 

gewgaw, 

linger. 

longer. 


stagged, 

stronger, 

strongest, 

swagger. 

tiger, 

youngest, 

younger, 

begin, 

begging, 

digging, 

druggist, 

forgive, 

gibber, 

gibberish, 


giggler, 

gild,- 

gills, 

gimbel, 

gimp, 

gingham, 

gird, 

girtle, 

give, 

gizzard, 

boggy, 

buggy, 

cloggy, 
craggy, 
dreggy. 


If  we  add  a  common  termination,  as 
ing,  to  a  root  ending  in  the  sound  of  g, 
changed.     Examples:    foggy,    doggish, 
lagging. 

H. 


twaggy. 

longest, 

pettifogger, 

ragged, 

rugged, 

scragged, 

Gibbons, 

gibby, 

gilt, 

gig-- 

foggy, 

knoggy, 

u^^ggy- 

scraggy. 

shaggy, 
y,  ish,  est,  ed  or 
the  sound  is  not 
biggest,    dogged. 


H  is  written  in  neither  the  vowel  nor  consonant  tables, 
but  is  generally  a  whispered  vowel.  Examples:  hill,  hale, 
hole,  hall,  his,  her,  him,  here,  hunt,  horse, 


FORMATION    OF    ENGMSFt    CONSON'ANTS.  109 

II  is  ofenemlly  sounded  when  ul  the  beginning  of  iisylhi- 
ble.     Ux((wples:  exhunst,  exhibit,  house. 

Sole  exceptions:  herb,  honest,  honor,  liostler,  lieir, 
hour,  and  derivatives. 

H  is  a  whispered  vowel,  except  when  it  comes  before  u, 
when  it  is  a  whispered  y. 

J. 

J==dzh.  Eocamples:  June.  January.  Exception:  luil- 
lelujali. 

L. 

L  is  V  whenever  1  immediately  follows  a  non-vocal  in 
the  same  syHable,  as  play,  plume,  fling.  But  it  is  7iever 
V  at  the  end  of  a  word.     Apple,  V. 

L  is  often  silent  before  m,  j  or  v.  Examples:  Calm, 
salve. 

When  1  immediately  followed  by  a  spelled  consonant  is 
silent,  it  changes  the  preceding  vowel.  Examples:  jisal- 
mody,  5;  psalm,  8. 

N. 

N  generally  has  the  sound  of  n.  It  has  the  sound  of 
ng  when  in  monosyllables  it  comes  before  k  or  g.  Exam- 
ples :   singer,  bank,  ink. 

In  words  of  more  than  one  syllable  n=ng  when  it 
comes  before  k  or  g  and  is  in  the  accented  syllable  of  the 
word.     Examjilcs:  n=ng — banker,  finger. 

Exceptions:  precinct,  ng  in  an  unaccential  syllable; 
nigot,  phonetic  n  in  an  accented  syllable. 

Common  terminations  do  not  generally  change  the 
Avord  to  which  they  are  added. 

The  following  are  exceptions,  the  g  sound  being  added 
to  the  ng:  longer,  longest;  stronger,  strongest;  younger, 
youngest;  diphthongal,  triphthongal. 


110  ORDER    OF    ElERCiSES. 

Xg  ill  Enirlish  is  always  :i  final  consonant — i.  e.  at  the 
(Mid  of  a  s\nal)lo  or  word. 

r. 

I*  between  in  an(1  1  is  o-cnorally  silent.  Examples: 
Symptom,  einptv. 

Q. 

Q  is  never  used  without  \\  following,  and  is  equivalent 
to  kw.  In  words  from  the  French,  it  is  k  alone.  Eocam- 
rAe:  quadrille. 

E. 

Ti.     Consonant  r  and  glide  r. 

Kule  1.  When  it  immediately  precedes  a  vowel  sound 
in  the  same  syllable  it  is  consonant  r.  Examples:  rat, 
ring,  run,  roll,  race,  repeat. 

2.  Glide  r  is  used  when  it  is  immediately  preceded  by  a 
vowel  in  the  same  syllable  (or  when  it  is  final  r),  except 
when  the  word  immediately  following  commences  with  a 
vowel ;  then  the  final  r  is  consonant.  Examples:  word, 
her  (glide  r),  her  own  (consonant  r). 

3.  When  r  comes  between  two  vowels  the  first  of  which 
is  long  we  have  two  r's — the  first  a  glide  and  the  second  a 
consonant  r.     Examples:  glory,  gr"-rr";  Mary,  M  4-rr-. 

li  is  never  entirely  silent  in  English  except  in  some 
cases  of  double  r. 

4.  Glide  r  is  used  only  after  long  vowels.  Examples: 
here,  pore,  air. 

Tn  correct  spoken  English,  there  is  no  trilled  r. 

Glide  r  is  used  after  long  words  only.  Vowels  2,  5,  9, 
10,  13,  always  short;  vowel  4  is  commonly  short,  but 
before  sound  of  r  it  is  long.  Examples:  Mary,  there. 
p]yery  word  that  rhymes  with  there,  4-r. 

II  opens  3-1  to  four.  Vowels  1  and  14  are  long  in 
accented  syllables.  Vowels  6  and  8  are  generally  long  in 
English. 


ifOTES.  Ill 


112  NOTES. 


FORMATION    OF    KN(il,lSIl    CONSONANTS.  113 

8. 

S  is  usually  phouetic  s,  but  sometimes  sh,  z  or  zh. 

Mis  and  trans  used  as  prefixes  always  have  sound  of  s. 
Exarnples:   misapplied,  mistaken,  transverse,  transatlantic. 

In  the  prefix  dis,  it  is  commonly  s.  When  the  accent 
is  on  the  second  syllable  i.  e.  the  one  after  the  prefix,  and 
that  syllable  begins  with  a  true  vowel  or  a  vocal  consonant, 
s  has  the  sound  of  z.  Examples:  dishonor,  dismiss,  dis- 
grace. Before  a  non-vocal,  s,  as  dissemble.  Exceptions 
to  this:  dissolve,  dessert — z  before  a  non-vocal. 

We  expect  s  before  c  to  be  phonetic  s,  as  ascetic,  fasci- 
nate.    Exception:  discern — sound  of  z. 

In  the  final  syllable  of  adjectives  and  some  nouns,  when 
s  is  followed  by  final  e,  it  is  phonetic  s;  when  a  verb  ends 
in  se,  the  s  is  z. 


>■  verbs. 


s. 

z. 

T .    (  diffuse, 
(  close. 

diffuse, 
close, 

nouns    i  ^'^^®' ' 
(  mouse. 

rise, 
mouse. 

S  is  zh  in  pleasure, 

measure, 
T. 

treasure,  etc. 

T  is  silent  in  soften,  often,  etc. 

It  is  silent  when  preceded  by  s,  and  followed  by  the 
abbreviated  syllables  en  and  le:  chasten,  hasten,  nestle,  mis- 
tletoe. 

X. 

X  is  usually  equivalent  to  ks.  Examples:  exile,  expose, 
exit.     It  sometimes  equals  ksh,  gz  and  z. 

1.  At  the  end  of  words  it  generally  equals  ks.  Exam- 
ples:  tax,  lax,  borax,  climax,  thorax. 

2.  It  is  gz  when  it  conies  before  an  accented  syllable 


114  OKDER   OF   EXERCISES. 

beginning  with  a  vowel,  or  an  h.     Long  u  is  here  called  a 
vowel.     Examples:  luxurious,  exhume,  exist,  exult. 

3.  X  beginning  a  word  generally  has  the  sound  of  z. 
Examjiles:  Xerxes,  Xenoplion. 

4.  X  sometimes  has  the  sound  of  ksh  in  the  center  of 
words.  Examples:  anxious,  5nksh9s;  complexion,  kom- 
pll  4ksh9n. 

5.  If  the  secondary  accent  falls  on  the  syllable  contain- 
ing X  it  equals  ks,  although  in  the  primitive  it  nuiy  have  had 
the  sound  gz,  or  vice  versa,  but  exultation,  exaltation  fol- 
low their  primitives.  Examples:  exhibition,  exhalation, 
exhortation  —  x=ks. 

Doxology,  proximity  and  exude  are  exceptions  to  gen- 
eral rule,  X  in  these  having  the  sound  of  ks  not  gz. 

X=GZ.  X=KS. 

exact  exit 

exist  "  execute 

exalt  exile 

exult  extreme 

exhaust  expose 

exhale  expound 

exhibit  exempt 

CII. 

Ch  has  no  fixed  sound  in  English.  It  sometimes  equals 
tsh,  k  and  sh.     Examples: 

Ch=tsh:     church,  lurch. 

Ch=k:   schooner,  school. 

Ch=sh:  champagne,  chamois. 

TH. 

1,  Th  is  sometimes  voiced  and  sometimes  not.  Voiced 
it  is  th\  breath  th^  As  a  general  rule  th  at  the  beginning 
and  end  of  words  has  only  breath.  Examples:  bath,  thumb, 
thing,  wreath. 


FORMATION  oj'  i;n(;lish  consonants.  115 

Excepfion  1.  Th  :it  the  end  of  words  has  voice  in  the 
following  words:  beneath\  underneatli',  sniootli'.  l)ooth'. 
withS  bequeath^ 

Exception  2.  When  teeth  or  nioutli  are  used  as  verbs, 
they  have  voice,  th\ 

The  plural  generally  follows  rule  of  singulars.  Exam- 
ples: fifth^,  fiftlrs;  trutlr,  trutlrs;  youtlr.  youth^s.  The 
following  is  list  of  exceptions:  batlr,  bathes;  mouth'*, 
mouth's;  path'*,  path's;  oath^  oath's;  wreath^  wreath's; 
moth^,  moth's;  cloth~,  cloth's. 

Exception  3.  In  the  following  words  th  at  the  begin- 
ning has  voice:  this,  there,  thou,  theirs,  then,  therefore, 
that,  they,  them.*\hus,  though,  tliese,  thine,  the,  thence, 
than,  those,  thy,  thither,  thee. 

Th  followed  by  final  mute  e  is  voiced:  Examples: 
clothe,  wreathe. 

In  with,  at  beginning  of  compounds,  it  is  th'.  Exam- 
ples:  withstand,   withstood. 

At  the  end  of  compounds  it  is  th'*.  Examples:  here- 
with, forthwith. 


DOUBLE   CONSON"ANTS. 


When  double  consonants  ofciir  in  the  middle  of  ti  word, 
as  a  general  rule  only  one  is  pronounced.  Examples:  mat- 
ter, mat-Or;  ladder,  lod-Gr;  bitter,  b2t-Gr, 

2.  Altliough  only  one  is  pronounced,  yet  double  conso- 
nants are  not  useless,  but  affect  the  following  changes: 

Participles  hold  the  same  pronunciation  as  verbs. 
E.ram)>h's :  purr,  })ui'ring„ 

Wlien  the  ])refix  ends  with  a  sound  the  radical  begins 
with,  both  consonants  are  sounded  —  i)refixes  im,  in,  il,  ir, 
un.     Examples.: immediately,  unnatural,  illegal,  irradicate. 

AVhen  suffixes  less  and  ness  are  joined  to  a  radical  that 
ends  with  same  sound  both  are  sounded.  Examples: 
meanness,  soulless,  greenness,  guileless. 

In  adding  the  suffix  ly  to  a  word  ending  in  sound  of  1, 
generally  there  is  but  one  phonetic  1.  Excejjtion:  When  a 
word  of  one  syllable  ending  with  the  sound  of  1  takes  ly, 
both  are  sounded  and  we  have  two  phonetic  I's.  Example: 
full,  fully;  cool,  coolly;  whole,  wholly. 

In  words  of  more  than  one  syllable  1  is  doubled  when 
its  root  is  accented  on  the  last  syllable.  .  Sole  example: 
genteelly. 

DiviDTXPx  Syllables  Phonetically. 

When  possible  begin  each  syllable  Avith  a  consonant 
soitnd.     Examples :  in  di-vi-si-bi-li-ty,  ge-ue-ro-si-ty. 

In  English  breath  follows  breath  and  voice  follows 
voice  usually.  L,  k,  t,  w,  immediately  following  a  breath 
consonant,  have  breath  themselves. 

116 


ENUNCIATION. 


1.  Lovely  art  thou,  0  Peace  I  and  lovely  are  thy 
children,  and  lovely  are  the  prints  of  thy  footsteps  in  the 
green  valleys. 

2.  Like  leaves  on  trees  the  life  of  man  is  found; 
Now  green  in  youth,  now  withering  on  the  ground. 

3.  What  wak'st  thou,   Spring?     Sweet  voices  in  the 

woods. 
And  reed-like  echoes,  that  have  long  been  mute. 

4.  Don't  you?  Ye  are  men.  A.  coasting  pilot  he. 
Take  a  car.  Let  him  go.  Let  me  go.  I  know  him  well. 
Let  her  alone. 

5.  A  cat  ran  up  the  ladder  with  a  lump  of  raw  liver  in 
its  mouth. 

6.  Round  and  round  the  rough  and  rugged  rocks  the 
rude  ragged  rascal  ran. 

7.  Socks  and  shoes  shock  Susan. 

8.  A  big  black  bug  bit  a  big  black  bear. 

9.  Sara  Slick  sawed  six  sleek  slim  slender  saplings. 

10.  Masses  of  immense  magnitude  move  majestically 
through  myriads  of  mammoth  multitudinous  spheres. 

11.  'MVhat  whim  led  White  Whitney  to  whittle,  whis- 
tle, Avhimper  and  whisper  near  the  wharf,  where  a  flounder- 
ing whale  might  wheel  and  whirl  ?" 

12.  "I  said  literary,  literally,  literarily." 

13.  Peter  Piper  picked  a  peck  of  pickled  peppers;  if 
Peter  Piper  picked  a  peck  of  pickled  peppers,  where's  the 
peck  of  pickled  peppers  that  Peter  Piper  picked. 

117 


118  ORDEK    OF    EXEKCISES. 

14.  Tlie  stripling  sM'iuiger  sti-;iycd  stniight  towards  the 
struggling  stream. 

15.  Swinish  sleep. 

16.  Up  the  high  hill  lie  heaved  a  huge,  heavy  hogshead. 

17.  Cruel,  crafty,  cunning,  crawling,  creeping  croco- 
dile. 

18.  The  vile  vagabond  ventured  to  vilify  the  venerable 
veteran. 

10.  She  uttered  a  sharp,  shrill  shriek  and  shrunk  from 
the  ensliroudcd  shrine. 

30.  Amidst  the  mists  with  angry  boasts  he  thrusts  his 
fists  against  the  posts  and  still  insists  he  sees  the  ghosts. 

:ll.  Now  clear,  pure,  hard,  bright,  and  one  by  one,  like 
to  hailstones. 

Short  words  fall  from  his  lips  fast  as  the  first  of  a 
shower, — 

Now  in  two-fold  column,  Spondee,  Iamb  and  Trochee, 

Unbroke,  firm  set,  advance,  retreat,  trampling  along, — 

New  with  a  sprightlier  springiness,  bounding  in  tripli- 
cate syllables, 

Dance  the  elastic  Dactylics  in  musical  cadences  on; 

Now  their  voluminous  coil  intertangling  like  huge 
anacondas, 

lioll  overwhelmingly  onward  the  sesquipedalian  words. 

22.  So  light  to  the  croup  the  fair  lady  he  swung. 
So  light  to  the  saddle  before  her  he  sprung. 

23.  Under  his  spurning  feet,  the  road. 
Like  an  arrowy  Alpine  river,  flowed, 
And  the  landscape  sped  away  behind. 
Like  an  ocean  flying  before  the  wind. 

24.  Great  rats,  small  rats,  lean  rats,  brawny  rats. 
Brown  rats,  black  rats,  gray  rats,  tawny  rats. 


NOTES.  119 


120  NOTES. 


ENUNCIATIOX.  131 

Grave  old  plodders,  gay  yoiinu-  fiiskers, 
Fathers,  mothers,  uncles,  cousins, 
Pointing  tails  and  pricking  whiskers. 
Families  by  tens  and  dozens, 
Brothers,  sisters,  husbands,  wives. 
Followed  the  Piper  for  their  lives. 

25.  Lord,  thoa  hast  been  our  dwelling-place  in  all 
generations.  Before  the  mountains  were  brought  forth, 
or  ever  thou  hadst  formed  the  earth  and  the  world,  even 
from  everlasting  to  everlasting,  thou  art  God. 

26.  Slow,  slow!  toll  it  low. 

As  the  sea- waves  break  and  flow; 

With  the  same  dull,  slumbrous  motion 

As  his  ancient  mother  Oceaii 

Rocked  him  on  through  storm  and  calm. 

From  the  iceberg  to  the  palm: 

So  his  drowsy  ears  may  deem 

That  the  sound  which  breaks  his  dream 

Is  the  ever-moaning  tide 

"Washing  on  his  vessel's  side. 

27.  There      stood      an      unsold      captive      in      the      mart 
A      gray-haired      and      majestical      old      man 

Chained      to      a     pillar.        It     was      almost     night 
And      the     last      seller     from      his     place     had      fjone ; 
And      not      a      sound      was      heard      but     of     a     dog 
Crunching      beneath      the      stall      a      refuse      hone. 
Or      the      dull      echo      from      the      pavement     rung 
As      the     faint      captive    changed      his    weary    feet. 

'Twas      evening      and      the      half-descended      sun 
Tipped     with     a     golden     fire     the     many     domes 
Of      Athens     and      a     yellow      atmosphere 


13a  ORDER   OF    EXERCISES. 

Lay      rich      and      dusky      in      llie      .shaded      street 
Through      whicli      tlie     captive      (jozexl. 

The      golden      light      into      the      painter's      room 
Streamed      richly     and      the      hidden     colors     stole 
From      the      dark      pictures      radiantly     forth, 
And      in     the      soft      and      dewy      atmosphere 
Like      forms      and      landscapes      magical      they      lay. 

Parrhasiiis      stood      gazing      forgetfully 
Upon      his      canvdK.  There      Prometheus      lay 

Chained      to      the      cold      rocks      of      Mount      Caucasus — 
The      vulture      at    his      vitals      and      the      links 
Of     the      lame      lemnian      festering    in    his     flish; 
And      as      the      painter's      mind    felt      through      the      dim 
Rapt     mystery     and      plucked      the      shadows      forth 
With      its      far-reaching     fancy     and      with      form 
And      color      clad      Ihem,      his      fine      earnest      eye 
Flashed      with      a      passionate     fire      and      the      (juick      curl 
Of      his      thin      nostril      and      his      (luiveriug      Up 
Were     like      the      winged      gods     breathing     from     his     flight, 

"Bring      me      the      captive      now! 
My      hands      feel      skillful     and      the      shadows      lift 
From      my      waked      spirit    airily     and      swift 

And      I      could      paint      the      bow 
Upon      the      bended      heavens — around      me      play 
Colors      of      such      divinity      to-day. 

The  selections  under  the  head  of  enunoiation  are  to  be 
used  individually  or  as  class  exercises.  Have  pupils  repeat 
slowly  with  great  distinctness  each  paragraph.  Avoid 
affectation  or  any  exaggerated  use  of  any  particular  organ. 
Many  teachers  in  endeavoring  to  speak  distinctly  train  the 
lips  to  move  with  such  painful  precision  that  the  effect  is 


ENUNCIATION.  123 

fully  as  disagreeable  as  it  Avould  be  from  a  slovenly  action. 
Avoid  extremes,  and  remember  "the  greatest  art  is  to 
conceal  art,"  and  that  whenever  effort  is  apparent  there  is 
always  a  loss  of  power. 

All  children  delight  in  alliteration,  and  in  all  childish 
play  it  takes  its  place  with  fairy  stories,  riddles,  games, 
etc.  A  wise  teacher  will  take  advantage  of  this  instinct, 
and  by  providing  plenty  of  examples  will  soon  get  surpris- 
ing results  in  articulation  without  any  apparent  effort  on 
the  part  of  the  pupils.  Insist  upon  distinctness  first,  ra- 
pidity afterward. 

The  last  exercise,  containing  the  italicized  words,  is  to 
be  used  with  the  piano.  Beginning  at  middle  C,  sing  the 
words  ''  There  stood  an  unsold  captive  in  the — "  upon  one 
note;  at  tlie  word  ''mart,"  drop  the  voice  a  semitone, 
and  sing  the  next,  "A  gray-haired  and  majestical  old  man 
chained  to  a  — "  upon  B,  dropping  to  B  flat  upon  the  word 
"pillar."  Continue  this  through  the  first  verse,  letting 
the  voice  fall  a  semitone  at  each  italicized  word.  At  the 
second  stanza,  "Tlie  golden  light,"  etc.,  begin  to  ascend 
the  scale,  using  a  semitone  at  each  italicized  word,  and 
continue  through  the  third,  until  G  above  middle  C  is 
reached  on  the  last  word  of  the  third  stanza,  "lay."  At 
the  fourth  stanza,  descend  the  scale. 

The  word-coloring  of  this  selection  should  be  noted 
and  insisted  upon  in  practice.  Give  full,  soft  tones  as  far 
removed  as  possible  from  the  hard,  metallic  voice  usually 
heard  in  concert  practice.  The  teacher  may  pass  up  and 
down  the  aisles  and  correct  individual  errors;  any  derelic- 
tion after  a  while  will  be  easily  distinguished,  and  time 
economized. 


124 


ORDER    OF    EXERCISES. 


DRILL   UPOH    WORDS    IN    WHICH 

VOWEL    7    IS    USED 

Advance, 

Contrast, 

Pass, 

After, 

Dance, 

Past, 

Aghast, 

Disaster, 

Pastor, 

Alas, 

Draft, 

Plaster, 

Ask, 

Enchant, 

Prance, 

Asp, 

Example, 

Passport, 

Ass, 

Fast, 

I'astime, 

Basket, 

Flask, 

Quaff, 

Bask, 

Gasp, 

Rafter, 

Bombast, 

(Ihastly, 

Rascal, 

Brass, 

Glance, 

Rasp, 

Branch, 

Glass, 

Raspberry, 

Cask, 

Grant, 

Repast, 

Castle, 

Hasp, 

Shaft, 

Chaff, 

Last, 

Surpass, 

Chance, 

Mask, 

Task, 

Chant, 

Mast, 

Vast, 

Clasp, 

Pant, 

Waft. 

Class, 

DRILL    UPON 

WORDS    IN    WHICH    Y    14    IS    USED. 

Nucleus, 

Duel, 

Tumultuous, 

Institute, 

Dutiful, 

Duke, 

Avenue, 

Tuesday, 

Dubious, 

Eeduce, 

Gratitude, 

Nudity, 

Longitude, 

Solitude, 

Similitude, 

Introduce, 

Credulity, 

Fortitude, 

Lassitude, 

Pseudo, 

Dewy, 

Literature, 

Substitute, 

Costume, 

Stupid, 

Tuneful, 

During, 

Produce, 

Tutor, 

Stupendous, 

Student, 

Knew, 

Dupe, 

New, 

Duplicity, 

Multitude, 

ENUNCIATION. 

Nuisance, 

Tubular. 

Impugn, 

Constituent, 

Assume. 

Adieu. 

DRILL    IN    ARTICULATIOX. 

Sex, 

Tax, 

When, 

Sects, 

Tacts, 

Wen, 

False, 

Kiftlis, 

White, 

Faults, 

Sixths, 

Weight, 

Patience, 

'I'welfths, 

Whale, 

Patients, 

Strength, 

Wail, 

Tracks, 

Deptlis, 

Which, 

Tracts, 

Breadths, 

Witch, 

Klines, 

Warniih. 

Whirled, 

Minds, 

iMontlis. 

Work!, 

Axe, 

Inspects, 

Whither, 

Acts, 

Dense, 

Wither, 

Consonants, 

Dents, 

While, 

Consonance, 

I'ents, 

Wile, 

Ducks, 

Repasts, 

Whirr, 

Ducts, 

Posts, 

Wirr, 

Close, 

Ghosts, 

Wheel, 

Clothes, 

Roasts, 

Weal, 

Lass, 

Boasts. 

Whine, 

Lasts, 

Hosts, 

Wine, 

Assistance, 

Tastes, 

Whig, 

Assistants, 

Coasts, 

Wig, 

Prince, 

Rusts, 

Whet, 

Prints, 

Masts, 

Wet, 

Mince, 

Marked, 

Where, 

Mints, 

Incidents, 

Wear, 

Precedence, 

[neidence. 

Whist, 

Presidents, 

Accidents, 

Wist, 

Sense, 

Wheeled, 

Whisper, 

Scents, 

Wield, 

Wisper, 

125 


126  OKDKK    OF    EXEKCISES. 


Guss, 

Whit, 

Whittle, 

Gusts, 

Wit, 

Whistle, 

Lax, 

What, 

Wheat, 

Lack'dst, 

Wot, 

Wheeze, 
Why. 

NOTES.  127 


128  NOTES. 


PITCH  OF  V^OICE. 


1.     C,  D.  E,  F:  E,  D,  C. 
3.     G,  A,  B,  C;  B,  A,  G. 

3.  Scale  (A  as  in  art);  middle  C  to  C  above. 

4.  Diatonic  scalo  (A  as  in  art);  middle  C  to  C  above 

5.  Diatonic  scale  (A  as  in  art),  up  and  down  upon  one 
breath.     Run  rapidly- 

G.     Trill  upon  two  notes  the  scale. 

7.  Same  with  three  notes. 

8.  Sing  scale  in  different  keys. 

0.  Intone  the  sentence,  ''Will  you  go?'^  and  gradu- 
ally bring  it  into  the  sjieaking  voice  preserving  the  same 
key,  from  middle  C  down  to  E  below. 

10.  Carry  the  same  sentence  from  middle  C  up  to 
middle  E. 

11.  Pull  out  tongue,  open  mouth  wide,  sing  A  as  in 
may,  prolonging  each  note  softly,  up  the  scale  from  G 
above  to  high  C. 

11.     The  same  with  phonator  (A  as  in  art). 
13.     The  wind  one  morning  sprang  up  from  sleep. 
Saying,  ''  Now  for  a  frolic,  now  for  a  leap  I 
Now  for  a  mad-cap,  galloping  chase! 
I'll  make  a  commotion  in  every  place  I" 
13.     Use  all  the  interjections  upon  different  keys,  try- 
ing to  color  them  by  different  emotions. 

129 


EXEECISES  UPON  PITCH. 


Exercises  1  and  2  are  to  be  used  when  the  scale  has  not 
been  conquered  by  a  pupil.  Sing  the  notes  in  No.  1  care- 
fully, Avithout  attempting  to  teach  No.  2  until  No.  1  is 
learned.  In  teaching  a  pupil  the  scale,  the  difficulty  is 
usually  with  the  ear;  as  soon  as  he  can  hear  the  notes,  or 
has  a  clear  concept  of  the  sounds  and  their  relations,  he 
can  reproduce  them.  Sing  the  notes  slowly,  one  after  the 
other  as  one  phrase,  each  time  the  exercise  is  given. 

Exercises  3  to  8  inclusive  are  for  flexibility  of  voice. 
Inflections  are  a  matter  of  pitch,  and  a  dull  monotonous 
voice  can  only  be  helped  by  the  conquering  of  this  medium. 
The  fixed  intonations  of  tlie  piano  are  better  as  a  guide 
in  development  than  the  method  common  to  elocu- 
tionists, of  having  the  pupil  imitate  the  teacher  al- 
together; even  the  best  teacher  is  apt  to  use  what  is 
best  suited  to  his  own  voice,  thus  unconsciously  limiting 
the  range  of  the  pupil  instead  of  giving  him  the  widest  he 
can  possibly  attain. 

Exercise  9  helps  to  break  up  tlie  monotony  induced  by 
the  habit  of  starting  every  selection,  of  either  prose  or 
poetry,  upon  the  same  key,  regardless  of  the  sentiment  to 
be  expressed.  Tbe  weightier  or  more  important  the 
thought,  the  lower,  as  a  rule,  the  pitch  —  seriousness, 
solemnity,  displeasure,  intense  surprise,  despair,  all  deep- 
ening the  pitch  of  the  voice.  The  lighter  the  emotions 
and  the  more  trifling  the  sentiments,  the  higher  the  pitch 
of  the  voice — joy,  gladness,  happiness,  surprise,  spiteful- 
ness,  in  the  main,  being  expressed,  by  a  high  pitch. 

130 


EXERCISES    UPON    PITCIi.  l31 

The  exercise  given  is  to  accustom  the  voice  to  the  use  of 
different  pitches,  that  a  bit  of  light  literature  may  be  read 
easily  and  naturally  in  the  way  best  suited  to  express  its 
thought  and,  likewise,  a  serious,  dignified  poem  or  prose 
selection  in  a  key  best  suited  to  express  the  character  of 
its  thought.  We  too  often  hear  some  dainty  little  poem, 
Nora  Perry's  ''Tying  Her  lionnet  Under  Her  Chin,"  for 
instance,  rendered  in  a  tone  that  for  depth  and  solemnity 
would  "curdle  your  blood." 

Exercise  11.  In  developing  upper  tones  great  care  should 
be  taken  that  the  throat  is  not  contracted.  Eun  out  the 
tongue  as  far  as  it  will  easily  and  naturally  go,  hold  it  be- 
tween the  thumb  and  finger  to  ensure  its  quiescence  (a 
handkerchief  placed  over  the  fingers  will  hold  the  tongue 
more  securely)  and  very  softly  sing  a  as  in  may  (3-1),  ris- 
ing a  semitone  at  each  intonation.  Conquer  the  upper 
tones  of  the  scale  note  by  note,  practicing  this  exercise 
several  times  a  day  until,  one  by  one,  the  higher  notes  can 
be  sung  without  contracting  the  throat.  Where  tlie 
muscles  are  felt  tightening,  when  attempting  to  sing  an 
upper  note,  decompose  the  head  and  jaw,  sing  softly 
and  lazily  the  tone  until  the  contraction  ceases.  The 
direct  purpose  of  holding  the  tongue  is  to  teach  it  in  the 
quickest  possible  time  that  it  has  nothing  to  do  with  the 
production  of  the  attribute  of  pitch.  The  holding  of  the 
tongue,  together  with  the  use  of  the  phonator,  helj)  to 
bring  about  the  depression  of  the  back  of  the  tongue ; 
by  their  use  one  great  difficulty  is  often  avoided.  In 
trying  to  forcibly  (through  an  effort  of  will)  hold  down 
the  back  of  the  tongue,  a  second  habit  of  over-energiz- 
ing the  throat  muscles  is  formed,  which  it  is  almost  as 
difficult  to  overcome  as  the  first.  Never  attempt  to 
force  the  voice;  freedom,  if  gained  at  all,  will  be  grad- 
ually  and   unconsciously  gained;    constant   effort   under 


I'd'^  OEDEK    oi'     l.AKBCISES. 

right  conditions  alone  will  give  the  desired  skill  and  free- 
dom of  use. 

Exercise  1'^  Take  the  lirst  line  of  the  stanza  in  a 
given  pitch,  raising  the  pitch  at  each  succeeding  line. 

Exercise  1-h  This  exercise  is  almost  invaluable  for 
bringing  to  the  puj^il  a  realizing  sense  of  the  fact  that 
quality  and  pitcli  have  an  important  office  in  a  reading  les- 
son. Becaiise  the  pupil  is  not  trained  to  think  the  thought 
while  reading,  and  is  jiot  led  to  concentrate  his  mind 
strongly  enough  upon  the  thought  to  have  the  imagination 
act  normally  and  the  appropriate  emotion  consecpiently 
aroused,  oral  reading  has  degenerated  into  a  colorless  call- 
ing of  words  that  is  in  the  highest  degree  detrimental. 
The  object  of  expression  is  to  develop  thought,  all  expres- 
sion reacting  to  intensify  the  thought.  This  abnormal 
expression  (which  it  is  the  custom  to  style  ''intellectual 
reading,"  to  indicate  its  superiority  to  another  form  of  ab- 
normal expression  styled  "elocutionary  reading")  is,  as  a 
means  of  thought  development,  useless  and  worse  than  iise- 
less.  It  bears  the  same  relation  to  a  proper  oral  reading 
(talking)  that  a  piece  of  nasal  psalmody  sung  out  of  tune 
does  to  a  properly  rendered  solo  from  the  Messiah. 

Elocution  is  or  should  be  an  effort  to  rightly  interpret 
the  thought  of  an  author,  using  that  quality,  pitch  or  force 
of  voice  which  will  best  make  clear  to  the  listener  the 
thought  embodied  in  the  language.  Bet^ause  some  untrained, 
imperfectly  trained,  or  perhaps  unsuccessful  teachers  of 
elocution  have  failed  to  do  this,  is  not  a  good  and  sufficient 
reason  for  giving  up  all  attempts  to  train  children  to  read 
properly.  Neither  affectation  nor  monotony  are  desirable 
and,  furthermore,  are  not  at  all  necessary. 

Use  exclamations  or  interjections  colored  by  different 
and  well-defined  emotions,  and  have  the  class  repeat  the 
same.     When  they  easily  and  naturally  express  the  various 


EXERCISES    UPON    PITCH.  133 

emotions,  use  words  colored  in  the  same  way,  I'ollowing  by 
words  associated  in  sentences. 

Do  considerable  of  this  as  an  object  lesson  in  expres- 
sion. If  the  pupil  can  once  be  led  to  realize  the  situa- 
tion, the  power  and  insight  so  gained  will  be  directly  used 
to  break  up  the  marvelously  unintelligent  delivery  so  prev- 
alent to-day. 

Placing  of  Voice. 

The  artificial  division  of  quality  of  voice  into  orotund, 
aspirate,  pectoral,  guttural,  oral  and  nasal  has  been  in 
every  way  detrimental  to  the  study  of  elocution.  The 
teacher  embodies  the  pattern  tone  in  a  set  sentence,  labels 
it  orotund  and  impresses  upon  the  pupil  the  fact  that  it  is 
the  appropriate  dress  of  the  solemn  or  the  sublime,  and  is 
to  be  used  in  the  rendering  of  passages  exijressive  of  such 
emotions.  This  set  form  is  faithfully  jiracticed,  until  the 
pupil  can  reproduce  with  more  or  less  accuracy  the  teach- 
er's every  intonation.  The  puj)il  is  ready  now  for  other 
set  forms,  all  labeled,  classified  and  warranted  to  cover  the 
whole  range  of  human  emotions;  and  the  i)ui)il,  after  a  six 
weeks'  course,  receives  a  diploma  and  is  fully  prepared  to 
interpret  a  Shakespeare  or  a  Browning,  and  instruct  others 
to  do  the  same.  This  he  is  fully  capable  of  doing,  but  it  is 
generally  to  be  noted  that  in  order  to  adapt  himself  more 
nearly  to  what  he  judges  to  be  the  average  capacity  of  his 
hearers,  he  usually  confines  himself  to  ''Curfew  ilust  Not 
Ring  To-night,"  *' The  Seminole's  Defiance,"  "The  Gam- 
bler's Wife,"  "The  Polish  Boy,"  ''The  Raven,"  "The 
Beautiful  Snow,"  and  similar  classical  selections. 

An  unphilosophical  classification  always  is  a  limitation. 
A  pupil  led  to  believe  that  a  particular  quality  (the  oro- 
tund, for  instance,)  like  a  jelly  mold  is  to  be  kept  ever 
ready  to  impress  thoughts  of  a  grand,  lofty  or  sublime  nat- 


134  OKDEK    OF    EXEECISES. 

nre,  and  that  he  must  turn  them  out  after  one  pattern,  regard- 
less of  the  subtle  shades  which  make  all  thoughts  individual, 
'^^  is  cabined,  cribbed,  confined  "  at  the  very  start.  Fixed 
patterns  of  expression,  instead  of  giving  freedom  to  the 
thought,  limit  and  otherwise  restrain  the  thought  power. 
The  special  office  of  expression  is  to  make  more  intense 
the  conscious  activity  ;  a  speaker  hamjjered  by  the  con- 
scious presence  of  the  fixed  form  adapts  the  thought  to  the 
pattern,  and  does  not  allow  the  thought  to  fashion  and 
mold  the  form.  "Strength  at  the  center,  freedom  at  the 
surface"  is  the  true  condition  of  being.  Under  this  prin- 
ciple, fixed  forms  of  expression  mean  the  restrained  and 
definite  limitation  at  the  surface,  ratlier  than  freedom  at 
the  surface.  The  physical  reason  for  this  is  that  the 
sensorian  and  great  center  ganglia  of  the  brain  act  as 
a  unit,  and  the  highest  pedagogical  law  seems  to 
point  to  the  hypothesis  that  this  unity  should  never  be 
severed  by  the  form  of  thought  in  mere  mechanical  exer- 
cise. All  the  fundamental  faults  among  elocutionists 
spring  from  this  limiting  of  thought  by  set  and  artificial 
forms  which  have  sunk  into  the  automatic  and  are  used 
mechanically. 

The  reasons  given  above  have  induced  me  to  substitute 
2)lacing  of  voice  for  the  work  usually  done  under  the 
head  of  quality.  Changes  in  quality  are  effected  by  the 
impingement  of  the  head  of  the  column  of  breath  against 
different  parts  of  the  mouth  or  head.  To  gain  control  of 
the  epiglottis  so  that  the  tone  can  be  directed  at  will  is 
virtually  to  possess  the  power  to  demonstrate  all  qualities. 
This  is  true  freedom,  carrying  with  it  the  capacity  for 
growth ;  if  the  emotion  is  experienced,  the  channel  for  its 
expression  is  open,  and  naturally,  freely  it  manifests  itself. 

Thought  and  emotion  express  themselves  through  the 
voice  proper,  in  pitch,  in  force,  in   quality.     Pure  tone 


NOTES.  135 


136  NOTES. 


EXERCISES    IToN    ITICI!.  137 

is  due  to  the  management  of  the  breath-impelling 
muscles.  Use  more  breath  than  is  necessary  to  set  the 
chords  in  motion,  and  it  is  heard  with  the  voice  as  un- 
vocalized  breath.  It  muddies  the  tone  ;  makes  it  less  clear. 
Energize  the  muscles  of  the  thorax  and  the  abdomen, 
impel  the  breath  vigorously  against  the  chords  and  a  loii'l, 
forcible  tone  is  the  result,  its  ringing,  resonant,  agreeable 
quality  depending  upon  the  openness  of  the  cavities  through 
which  it  passes,  and  its  ])lacing.  Give  a  pupil  all  degrees 
of  force  through  breathing  exercises  which  teach  sustaining 
and  impelling  of  tone.  Give  liim  command  of  pitch  that  the 
inflectional  range  of  the  voice  may  adequately  express  his 
thought.  Let  him  hear  the  different  qualities  and  learn 
to  produce  them  at  will;  in  a  word,  bring  about  the  condi- 
tions which  will  set  free  that  living  tone  which  vibrates 
with  his  being,  pulsates  with  every  emotion  of  his  heart, 
unlocks  the  sealed  avenues  and  lets  the  soul  free. 


VOCAL   EXEECISES    UPON    FIXED    INTONA- 
TIONS FOE  THE  FRONT  PLACING. 


1.  U  as  in  up.     Scale,  Stabat  Mater. 

2.  Ung.  "  "  " 

3.  Hung.  "  "  " 

4.  Kng.  "  "  " 

5.  Knee.  "  "  '' 

6.  Knee,  knee,  knee,  knee,  knee,  knee.     Scale. 

7.  Knee — ah,  knee  —  ah.     Scale. 

8.  Keep  near  me.  *' 

9.  They  may  pay  (pa-ay).  " 

10.  Ca-11  on  Paul. 

11.  A  as  in  may;  middle  (<  to  E  above. 

12.  UPla=^-^ 

13.  La*  — a^i. 

14.  Scale,  swelling  ujjon  each  tone. 

15.  C-e»-uy"oi'".     Scale. 

16.  M-ya=^-'. 

17.  Bugle  exercise. 


138 


YOCAL  EXERCISE  FOR  FRONT  PLACING. 


No.  1.  Sing  this  from  C  above  down  the  scale  to  middle 
C.  It  is  a  click,  so  to  speak,  of  the  glottis,  and  it  is  to  be 
used  for  strengthening  the  chords  and  to  teach  direct  attack 
of  the  tone.  Do  not  permit  any  feeling  for  the  tone, 
striking  below  and  slurring  up  to  it.  Use  this  exercise 
very  carefully  and  only  for  the  purpose  indicated.  The 
stroke  of  the  glottis  is  virtually  a  throat  consonant, 
performing  the  office  of  a  consonant  and  insuring  the 
projection  of  words  beginning  Avith  a  vowel.  If  this 
effect  is  noticeable,  obtrudes  itself  in  any  way,  it  is  a 
blemish. 

No.  2.  The  syllable  umj  directs  the  head  of  the  col- 
umn of  breath  to  the  soft  i3alate.  Practice  it  softly,  pre- 
ceding it  by  tlie  stroke  of  the  glottis. 

No.  o.  The  syllable  hv)ig  sends  the  tone  into  the  head, 
striking  the  bony  framework  enclosing  the  lower  pituitary 

gland. 

Do  not  use  too  much  force.  Think  the  tone  and  send 
it  directly  to  its  placing  M'ithout  pushing. 

No.  4.  A'y/^  sends  the  tone  to  the  frontal  bone.  Think 
between  the  eyes;  sustain  the  note  steadily,  without  con- 
tracting the  throat  or  imshing  the  tone. 

No.  5  sends  the  tone  directly  to  the  teeth  and  sustains' 
it  there,  full  and  resonant.     Be  careful  that  the  tone  does 
not  slip  back.     The  slightest  unsteadiness   or  change  of 
position  on  the  part  of  the  organs  changes  the  quality. 

No.  6.     Tone  in  the  same  place,  but  held  firmly  while 

repeating  the  word. 

139 


140  ORDER    OF    EXERCISES. 

Nos.  7  and  8  present  a  more  difficult  combination  of 
elements.  During  tlie  changing  position  of  tlie  organs  of 
articulation,  the  tone  is  still  to  be  held  steadily  in  the 
front  of  the  mouth. 

No.  9  changes  the  combination  of  elements  and  also 
the  pitch,  the  voice  dropping  a  semi-tone  upon  ay. 

No.  10.  Same  placing,  well  opened  throat  and  mouth, 
and  changing  pitch. 

No.  11.  Pull  out  tongue,  hold  it  with  thumb  and 
finger,  and  swell  the  tone;  rise  a  semi-tone  at  each  into- 
nation. 

Nos.  12  and  13.     The  same. 

No.  14.  Begin  the  tone  softly;  gradually  increase,  then 
softly  diminish,  retaining  the  same  placing. 

No.  15.  Give  the  vowels  successively  as  a  word  of 
four  syllables,  placing  the  tone  at  the  lips.  See  that  the 
placing  does  not  slip  back  upon  the  vowel  o^^". 

Nos.  16  and  17  hold  the  tone  at  the  lips.  (^  As  soon  us 
the  pupil  can  hold  the  tone  easily  and  with  surety  to  the 
front  placing,  gradually  change  the  singing  voice  to  the 
speaking  voice,yret;iining  the  same  placing.  Frcfjuently 
illustrate  the  result  to  the  quality  of  the  voice  through  the 
placing  of  the  voice  in  the  head,  or  at  the  back  of  the 
mouth,  in  order  that  the  pupil  nuiy  Iwar  and  learn  to  dis- 
criminate between  agreeable  and  disagreeable  elfects. 


VOCAL   EXERCISES    UPON    FIXED    INTONA- 
TIONS FOR  THE  CENTER  PLACING. 


1.  Ul'-'-la'",  down  the  scale  from  iniddlo  (<  to  (1  below. 

3.  Caw"-au", 

■i.  Boo"-ah\ 

5.  VYoe, 

6.  Alpha,  beta,  gamma,  delta,  epsilon,  zeta,  eta,  theta. 

7.  0  Lord,   Avhy  hast  thou  made  them  err  from  thy 
ways?  Scale. 

8.  Carry  the  singing  tone  into  the  sjieaking  voice. 


141 


yOCAL  EXERCISES  FOR  CENTER  PLACING. 


Exercise  1.  The  syllables  iil-la  are  to  be  hardly  more 
than  breathed  down  the  scale,  descending  a  semitone  upon 
the  second  syllable  at  each  intonation.  Repeat  the  last 
tone  given  and  descend  another  semitone  upon  the  next 
intonation.  Give  the  tone  softly,  smoothly  and  evenly. 
*'  Pour  the  soul"  into  the  tone.  Do  not  attempt  to  force 
the  tone  or  to  sing  loudly.  The  roundness,  fullness  and 
power  desired  will  gradually  come  into  the  tone  if  it  is 
allowed  to  grow;  whereas  a  hard,  metallic,  unpleasant  qual- 
ity 'will  be  induced  if  it  is  in  any  way  forced.  Direct  the 
tone  to  center  of  mouth. 

Practice  exercises  2  and  3  in  same  manner. 

Exercise  4  is  sustained  upon  one  note,  beginning 
softly  and  increasing  the  force  of  the  tone  upon  the  second 
syllable.  Carry  the  tone  steadily,  and  gradually  swell  it. 
Hold  the  center  placing  and  do  not  let  the  quality  change 
from  sombre  to  bright. 

Exercise  5.  In  full  sustained  tone  use  the  syllable  woe, 
singing  each  note  of  the  scale. 

Exercise  6.  Take  breath  on  each  note  and  sustain  the 
tone  down  the  scale.  Descend  a  semitone  on  each  syllable 
and  begin  the  following  word  upon  the  succeeding  note. 
Drop  the  jaw  and  open  the  throat  well. 

Exercise  7.  Sing  the  sentence  upon  each  note  of  the 
scale,  keeping  the  placing  in  the  center  of  mouth. 

Exercise  8.  Use  for  practice  any  selection  that  natur- 
ally demands  thi.s  quality  of  voice.  An  idea  of  the  infin- 
ite variety  of  emotional  eilects  that  can  be  produced  by 

142 


NOTES.  143 


144  NOTES. 


VOCAL  EXERCISES  KOK  CENTER  l'LACl.\<;.      145 

the  use  of  this  one  phiciiig,  combined  with  different  degrees 
of  pitch  and  force,  should  here  be  given  tlic  pupil. 

It  is  not  necessary  by  any  graded  set  of  exercises  to  teach 
the  placing  of  the  voice  at  the  back  of  the  mouth.  Any 
pupil  who  has  conquered  the  preceding  exercises,  if  he  has 
the  necessary  imitative  and  dramatic  power,  will  find  that 
he  can  conquer  the,  mere  mechanics  easily.  Avoid  the 
habitual  use  of  this  quality  of  voice,  and  when  it  is  neces- 
sary in  impersonations,  or  for  the  expression  of  any  line  of 
emotions  particularly  requiring  it,  seek  to  have  it  the  out- 
come of  the  emotion  itself .  Try  to  imagine  the  situation  so 
strongly  that  the  right  emotion  is  naturally  induced  and 
then  let  the  voice  express  what  is  felt.  There  is  less  dan- 
ger of  injuring  the  delicate  muscles  of  the  throat  under 
stress  of  the  emotion  than  when  trying  merely  to  simulate 
passion. 

An  abnormal  action  of  the  muscles  is  called  for  by  this 
placing;  it  is  used  to  express  such  states  and  emotions  as 
physical  weakness  or  Aveariness,  rage,  lust,  hate,  anger  and 
despair;  it  also  is  employed  Avhen  impersonating  characters 
Avhieh  are  undeveloped  or  brutal.  That  which  it  expresses 
is  bad,  unwholesome  and  undesirable,  and  the  reaction  of 
its  expression  is  necessarily  the  same.  Xow  the  chief  use  of 
expression  is  its  reaction  upon  development  or  growth,  and 
the  elocution  of  the  past  which  has  so  persistently  called  for 
this  particular  form  of  expression  has  much  to  answer  for. 
Too  great  emphasis  has  been  laid  upon  that  which  is  low  and 
degrading  in  literature  and  not  enough  upon  that  Avhich  is 
good  and  wholesome.  Xewsboys'  slang,  engineers"  and  fire- 
mens'  illiteracy, dialect  pieces  that  are  an  insult  to  the  nation- 
ality they  misrepresent,  pathetic  selections  of  the  "Polish 
Boy"  and  railway  horror  kind,  vivid  accounts  of  how  Mr. 
Spoopendyke  found  a  rat  in  his  trousers,  together  with 
such    unmeaning   jingle,    as   "The    Bells"    and    ''The 


l-i(3  (il>'l)Ki;    OF    EXERCISES. 

Haven,"  crowd  books  of  selections,  ''^prepared  expressly  for 
elocutionists/'''  so  the  jireface  informs  the  reader.  In  one 
of  the  most  popular  of  these,  containing  four  hundred 
selections,  I  lind  represented: 

1,  114  authors  —  good  and  indifferently  good. 

2.  1-4G  authors  —  sensational  and  poor, 
o.     140  authors  —  anonymous. 

Out  of  the  114  pieces  furnished  by  the  first  class  forty- 
live  were  of  what  might  be  termed  the  sensational  order, 
as  a  rule  not  the  best  but  the  poorest  representations  of  the 
style  of  tlieir  authors;  many  of  them  dialect  pieces  show- 
ing some  h)w  phase  of  life  or  liunian  natitre,  not  selected 
for  the  purpose  of  conveying  sweet  and  touching  lessons  to 
the  lieart,  but  to  throw  ridicule  upon  some  poor  unfort- 
unate. 

Habit  and  endurance  alone  enable  one  to  breathe  freely 
in  the  rarefied  atmosiihere  of  the  great  uplands  of  the 
physical  world;  and  to  breathe  freely  in  the  spiritual  at- 
mosphere of  Shakespeare,  Emerson  or  Browning  will  not 
be  made  possible  through  a  continued  dwelling  among  the 
bogs,  ferns  and  lowlands  of  tlie  literary  world.  If  personal 
magnetism  and  i^ower  of  expression  are  to  be  used  wholly 
to  inculcate  a  taste  for  the  sensational  and  vicious  in  liter- 
ature, as  Supt.  llowland,  of  Chicago,  in  a  recent  address 
before  the  teachers  of  that  city,  plainly  intimated,  the 
teachers,  or  the  world  at  large,  have  very  little  use  for  the 
elocutionist,  and  elocution  no  place  in  education.  It  is 
tlie  taste  for  what  is  essentially  good  that  is  to  be  cul- 
tivated, for  upon  the  thought  depend  the  emotions,  and 
upon  the  emotions  the  desires,  and  to  engender  and 
make  habitual  the  right  emotions  is  the  important  func- 
tion of  the  teacher.  That  is  not  in  any  sense  humor- 
ous which  leads  one  to  become  callous  to  the  misfortunes 
of  others,  and  pathos  does  not  perform  its  proper  office 


VOCAL  EXERCISES  FOR  CENTER  PLACING.      147 

when  it  excites  grief  Avithout  at  the  same  time  con- 
veying the  germ  of  a  great  moral  truth  which  is  the  seed 
for  future  consohition. 

True  humor  or  fine  delineation  may  be  clothed  in  un- 
grammatical  phraseology  or  expressed  in  an  uncouth  dia- 
lect, as  is  the  case  in  ''Old  1'own  Stories,"  "The  Outcasts 
of  Poker  Flat,"  or  "  Old  Creole  Days,"  but  their  power 
lies,  after  all,  in  the  author's  ability  to  comprehend  hidden 
springs  of  action  deeply  imbedded  in  the  human  soul,  and 
his  power  to  call  them  into  action,  that  we  may  see  with 
his  eyes  their  good  or  their  evil,  their  truth  or  their  lies. 
A  mirror  that  only  distorts  images  is  no  true  reflector  of 
its  surroundings,  and  the  trash  masquerading  under  the 
thin  guise  of  misspelled  words  and  ungrammatical  phrases 
forming  the  stock-in-trade  of  too  many  teachers  of  this 
subject  is  misleading,  wholly  degrading  to  the  art  of  elo- 
cution and  a  reproach  to  those  who  profess  it. 


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